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OP  Making  the 

Vopld  Lauiih 

bu  0 

High  Court  Jester  to  His  Majesty 
the  King  of  Laughter 

Printed  and  Published 
by 

Correspondence  Institute  of  America 
Scranton,  Pa. 
igio 


CARTOONS  AND  CARICATURES; 


“Be  Jabers!” 


The  ripened  fruit  of  nearly  thirty  years  with  pen, 
crayon  and  brush,  worked  into  a book  by  Eugene 
Zimmerman,  and  copyrighted  by  him  in  the  archives 
of  Washington,  D.  C.,  March,  nineteen  hundred  and 
ten. 

“It  is  to  Laugh!” 


OR,  MAKING  THE  WORLD  LAUGH 


-4r 


'N- I 


j 

t “Just  a drop  of  ink 

A makes  millions  think” 
Aye,  ’Tis  so,  and  in  this  1910 
edition  of  my  book  on  Caricature 
you  can  get  for  five  plunks  (in  real 
Money)  the  fruits  of  over  twenty  . 
years  hard  work  which  has  brought 
me  much  fame,  SOME  money  and 
an  earnest  desire  for  rest.  In 
publishing  my  book  The  Corre- 
ll  spondence  Institute  of  America 
is  doing  a noble  work  for  young , 
aspiring  artists. 

Yours  fraternally. 


4 


CARTOONS  AND  CARICATURES; 


Written — by  fits  and  starts — just  when  I felt  like  it, 
and  often  when  I did  not — expressly  for  the 
young  student  bent  in  the  direction  of  Comic 
Art  and  Caricature,  and  incidentally  for 
the  coin  consideration  or  compen- 
sation, which  a book  as 
funny  and  helpful  as 
this  ought  to 
bring. 


Like 

the  works  of 
Shakespeare,  Robinson 
Crusoe,  Burns,  Byron  and  other  men 
who  have  written  some  good  stuff — this 
book  is  only  interesting  to  those  who  are  inter- 
ested in  it — so  we’ll  cut  the  tail  as  short  as  possible. 


OR,  MAKING  THE  WORLD  LAUGH 


THE  AUTHOR. 


In  Caricaturing  you  will  note  your  own  face  gradually 
reflects  the  leading  feature  of  the  person  you  are  sketching. 


6 


CARTOONS  AND  CARICATURES; 


{Married  or  Single 
Business  Lying 
Early  Experiences 
42,  This  Book  is  Like  Pump- 
kin Pie 

41.  Aches  and  Pains  vs. 
Humor 

40.  Drawing  Faces  with  the 
Aid  of  a Mirror 
39.  Cost  of  Line  Cuts 
38.  The  Correspondence 
Schools 
37.  Wrinkles 

36.  Shoes  that  Denote  Char- 
acter 

35.  Spatter  Effects 
34.  Use  of  Scratch  Board 
33.  The  Country  Post  Office 
32.  Safest  Way  to  Ship 
Drawings 

31.  Gestures.  Drawing  Ex- 
pressive Hands 
30.  Submitting  Jokes  in  the 
Rough 

29.  A Pew  Words  Along 
Straight  Lines 
f Bohemian  Booze  At- 
28.  I mosphere 

^ Reversing  a Photograph 
27.  Midnight  Aspirations 
26.  Gain  Friends 
25.  Bible  Subjects  and  Cari- 
catures. Captions 


24.  Water  Color  Sketch 
23.  Safe  Transmission  of 
Drawings 

22.  Wash  Drawings 
21.  Humor  and  Animal  Com- 
posites, and  Outline  of 
the  Process  of  Half- 
tone Engraving 
20.  Attention  to  Character- 
istics 

19.  How  we  get  Ideas 
18.  Spontaneity. 

17.  Be' Modest 

The  Life  of  a Carica- 
■ turist  and  the  Tools 
^ he  Uses 

14.  A Heart-to-Heart  Talk 
13.  Practical  Knowledge 

f Introduction.  Keyed  half 
^^1  in  fun  and  half  in  a 
^ serious  vein 
■ John  Maxwell,  Editor 
“The  Home  Educa- 
^ ■ tor,”  praises  me  while 
g I am  living.  Few'  at- 
tain such  fame  and  live 
7.  More  Index 
6.  Index 

5.  My  “Phiz”  as  it  is  to-day 
4.  How  I Wrote  This  Book 
3.  An  Interjection! 

2.  Copyright  Notice 
I.  Title  Page 


You  never  saw 


one  just,  like  it 


OR,  MAKING  THE  WORLD  LAUGH 


7 


96.  I say  Good-bye,  AND 

70. 

The  Joys  of  Bohemia 

THANK  YOU 

69. 

A Man’s  Own  Castle 

95.  Odd  Remarks  by  an  Odd 

68. 

The  Hobo  Brand.  Two 

Fellow 

Important  Don’ts 

94.  The  First  Great  AYork  of 

67. 

An  Illustrated  Joke 

my  Life 

66. 

The  Affinity 

93,  The  Man  of  the  Hour 

65- 

Acrobatic  Drawing 

92.  Three  Commandments 

64. 

DravAngs  Based  upon 

91.  This  is  a Contrary  World 

Puns 

90.  Free-lancing 

63- 

Proper  Balance,  and  Re^ 

89.  / Enos.  Hunter,  Fisher 

duction  of  Drawings 

88.  \ Guide  and  Philosopher 

62. 

Hints  on  Practice 

87.  One-sided  Humor 

61. 

Don’t  Waste  your  Genius 

86.  The  Ear  and  its  Relation 

60. 

Companion  Pictures 

to  the  Face.  Regard- 

59- 

Character  Sketch 

ing  Blacks  and  Whites 

58. 

Don’t  Be  Too  Nervy 

> Pencil  and  Pen  Sketches 

57- 

Blacks  and  Whites 

84.  J 

56. 

The  Prolific  Man 

83.  Nast,  the  Founder  of 

55. 

Drawing  a Sketch  on 

American  Caricature 

Common  Packing 

82.  Lithography 

Board 

81.  Gessford  takes  my  Latest 

54. 

Nearly  a Soljer 

Photograph 

53- 

Good  Advice 

80.  History,  Biography, 

52. 

Ideas  in  the  Rough 

Facts  and  Fibs 

51- 

Comic  Sketch 

79.  Political  Cartooning 

50- 

Sketch  on  Charcoal 

78.  The  Pirate 

Board 

77.  Two  Subjects  in  Pen  and 

49- - 

Drawing  up  an  Idea 

Ink 

48. 

The  Artist  and  the  Art 

76.  Where  Nature  Exceeds 

Editor 

Art 

47- 

Sample  of  Finished  Pen 

75.  r Being  your  own  Press 

Sketch 

74-  1 Agent 

46. 

What’s  in  a Name 

73.  Wash  Drawings 

45. 

The  Caricaturist  as  a 

72.  Right  and  Wrong  Inte- 

Hero 

riors 

44. 

Study  the  Comic  Jour- 

71. A Few  Pointers 

nals 

8 


CARTOONS  AND  CARICATURES; 


EUGENE  ZIMMERMAN 

CARTOONIST 

Known  the  World  Over  as  “Zim” 

An  Appreciation  by  John  Maxwell,  Editor  “The  Home  Educator” 


>■5 


O know  Eugene  Zim- 
merman is  to  love  him; 
to  study  his  work  is  a 
liberal  education  in  the  power  of  a 
few  strokes  of  the  pen  to  create 
laughter  and  at  the  same  time  hold 
' J the  respect  of  all  interested.  “Zim” 


has  had  nearly  thirty  years  in  Caricaturing 
and  Cartooning — a longer  actual  art  career 
than  any  other  living  Cartoonist.  He  takes  his  work  as  his 
Life’s  work — ^to  do  things  well  he  says  is  a serious  thing 
— a duty  we  owe  to  ourselves  and  our  friends,  the  public. 
Yet  “Zim”  as  a man  is  bubbling  over  with  humor. 
He’s  a jolly  character — a man  among  men — King  of 
Cartoonists  and  Prince  of  Caricaturists.  He,  among  our 
great  artists  of  to-day,  is  credited  with  having  the  greatest 
amount  of  humor;  is  well  known  in  all  circles  of  Bohemia 
and  Art — yet,  loves  the  hours  best  that  he  spends  in  Che- 
mung county,  New  York.  When  I first  approached  him 
regarding  his  new  book,  “Cartoons  and  Caricatures,  or, 
Making  the  World  Laugh,”  I.  found  him,  the  Artist  in  his 
Studio  on  Fifth  avenue.  New  York.  Later  when  I was 
commissioned  to  get  “Zim”  to  thoroughly  revise  the  Art 
Course  of  the  Correspondence  Institute  of  America,  I found 
him  a man  of  leisure  amid  the  thousand  and  one  artistic 
creations  of  his  retreat  in  upper  New  York  State.  In  both 
cases  he  took  life  easy,  for  he  feels  he  deserves  to  do  so  and 
the  one  great  charm  about  him  is  his  cheery  optimism. 
“Laugh  and  the  world  laughs  with  you.”  seems  to  be  his 
motto,  and  yet  he  has  had  his  ups  and  downs.  He  is  forty 
years  young — as  genial  as  a school-boy,  happy  as  a man 
always  is  who  loves  his  work — ^fatherly  in  his  advice — 
brotherly  in  his  big-hearted  friendship  for  those  who  admire 
him — and  he  has  thousands  of  admirers.  Just  the  kind 
of  a comrade  to  warm  up  to — a true  artist  and  a good  citizen. 
When  you  take  into  consideration  the  reputation  artists 
as  a rule  enjoy  for  being  erratic,  it  means  a lot  when  I say 
Eugene  Zimmerman  has  always  been  a leading  cartoonist 
in  political  campaigns  for  the  past  thirty  years  and  has  never 
been  defiled  by  taint  of  party  politics  or  plunder  and  the 
wealth  he  enjoys  has  been  the  legitimate  proceeds  of  his  art. 
He  is  a Swiss,  having  been  born  in  Basle,  May  25th,  1862, 
and  two  years  later,  upon  the  death  of  his  mother,  he  was 
sent  to  live  with  an  aunt  in  Alsace  until  the  outbreak  of 
the  Franco-Prussian  war  in  1870.  The  din  of  war  and  the 
clash  of  strife  sunk  deep  into  his  youthful  nature  and  he 
loves  to  dash  sketches  of  what  he  thinks  they  ought  to  have 


OR,  MAKING  THE  WORLD  LAUGH 


9 


let  him  do  to  cool  his  martial  ardor.  (These  and  nearly 
one  hundred  of  his  sketches  appear  in  the  Art  Course  of  the 
C.  I.  of  A.)  The  war  had  just  started  when  they  shipped 
“Zim”  in  care  of  a friend  to  join  his  father,  a baker  in  Pater- 
son, N.  J.  He  attended  the  public  schools  of  that  city  and 
received  much  chastising  for  drawing  pictures  on  his  slate, 
on  the  blackboards  and  in  his  school  books.  He  asserts 
his  work  was  not  popular  with  his  teachers.  He  drifted 
into  this  and  that,  and  his  life  story  reads  like  a dime  novel, 
only  truth  in  this  case  is  stranger  than  fiction.  Between 
the  years  of  15  and  22,  “Zim”  tells  me  he  was  a star  actor 
on  Life’s  Stage  and  played  many  parts — tragic  and  other- 
wise: He  was  a farmer’s  chore  boy,  assistant  peddler  of 

fish,  a baker,  attended  bar,  a sign  writer,  a painter  upon 
fences,  and  a whitewasher  of  fences,  a worker  in  a silk  mill, 
odd  man  on  a farm ; with  brief  intervals  between  each 
engagement  and  his  resignation  was  accepted  at  all  times, 
for  he  believed  he  was  cut  out  for  but  one  career— that  of 
a newspaper  artist.  His  mind  was  on  one  subject  and  in 
cultivating  his  artistic  talent  he  undoubtedly  neglected  at 
times  the  duties  he  was  supposed  to  attend  to.  He  says  he 
endured  many  hardships  but  he  never  despaired  of  being 
some  day  a cartoonist.  He  reall}^  broke  into  art  by  becom- 
ing a sign  painter  in  New  York  City.  “Zim”  admits  his 
signs  attracted  attention.  “They  were  funny,”  is  the  way 
he  summed  them  up,  and  judging  them  by  his  sketches  I 
quite  believe  they  were.  While  working  on  signs,  some  of  his 
wprk  came  to  the  attention  of  the  proprietors  of  “Puck,”  and 
he  joined  them  in  1884,  when  he  was  but  22  years  of  age. 
He  served  out  his  three  years’  contract  and  joined  “Judge,” 
and  he  has  been  for  the  past  23  years  the  great  caricaturist 
of  the  well-known  and  world-read  publication.  His  humor 
is  delicate  and  refined.  What  Eugene  Field  was  to  the 
poetical  world,  Eugene  Zimmerman  is  to  the  world  of  cari- 
cature and  humor.  Some  people  laugh  with  their  face — 
others  with  their  whole  body — ^ “Zim’s”  pictures  make 
you  laugh  all  over.  He  admits  from  the  depth  of  his  wisdom 
that  seventy  per  cent  of  those  we  meet  talk  with  their  hands 
— and  “Zim”  draws  hands  and  feet — gestures 
and  facial  expressions — ^wrinkles  and  curves — 
a dash  here  and  a dot  there,  as  no  other  car- 
toonist ever  did,  and  I am  pleased  to  say  he 
has  incorporated  in  the  thirty  revised  lessons 
of  the  Art  Course  of  the  Correspondence  Insti- 
tute of  America,  some  of  his  sketches  specially  drawn  as 
aids  to  the  younq-  student  in  Illustrating,  Designing  and 
Cartooning.  “Zim”  stands  without  a rival  in  his  field; 
no  cartoonist  can  show  so  much  with  so  few  dashes  of  a 
pen;  he  seems  niggardly  with  his  lines,  yet  he  is  most 
prodigal  in  the  humor  he  serves  up  to  us. 

There  are  many  cartoonists  and  comic  artists — many 
good  men  with  their  heart  in  their  work;  men  I have  had 
the  ijleasure  of  meeting  during  the  past  fifteen  years — 
men  who  are  real  creators — artists  who  have  established 
the  serial  drawings,  appearing  in  all  the  Sunday  editions 
of  our  metropolitan  papers — that  create  laughter,  inter- 
est and  humor.  But  who  among  the  vast  army  of 


- 


lO 


CARTOONS  AND  CARICATURES; 


comic  artists  and  cartoonists  can  in  any  measure  equal  “Zim?”  Who 
besides  “Zim”  can  draw  a real  hand,  a real  foot,  or  a smile  upon  the 
face  and  still  make  it  funny?  There  are  none!  “Zim”  is  in  a world  by 
himself,  surrounded  by  a million  admirers,  who  eagerly  await  each  week 
the  welcomed  copy  of  “Judge,”  wherein  appear  “Zim’s”  refreshing  and 
refined  fountains  of  mirth,  happiness  and  laughter,  at  the  waters  of 
which  we  may  drink  abundantly  and  drive  away  the  cares  of  a weary 
brain,  and  renew  the  sunshine  of  happiness.  “Zim’s”  drawings  have  a 
literary  finish,  an  artistic  appreciation,  and  to  these  he  always  adds  a 
sprinkling  of  refined  and  delicate  humor. 

We  as  an  American  people,  lovers  of  refined,  delicious  humor  and  funny 
drawings,  must  all  humbly  bow  at  the  shrine  of  Eugene  Zimmerman,  who 
has  no  equal,  therefore  no  superior  in  the  broad  field  of  his  fine  humor 
and  comedy  sketching. 

If  Byron  were  living,  I believe  he  would  repeat  these  words  in  due  rever- 
ence to  “Zim;  ” 

“Dreams  in  their  development  have  breath. 

And  tears  and  tortures,  and  the  touch  of  joy.” 

Eugene  Zimmerman  is  a great  man,  a great  thinker,  a great  creator 
and  master  of  originality;  the  one  man  who  compels  millions  to  latigh. 
As  I have  said  before,  to  see  him  would  be  to  love  him — love  him  because 
of  his  genial  and  sunny  disposition;  the  shake  of  his  hand  is  a true  symbol 
of  loyalty  and  good,  true  fellowship. 

To  be  in  his  presence  is  to  be  in  the  atmosphere  of  happiness,  where 
care  is  unknown  and  trouble  a stranger.  He  loves  his  work;  he  loves  to 
make  othere  happy,  and  the  latch  string  of  his  heart  always  hangs  ou'^to 
those  who  need  help,  cheer  and  consolation.  May  the  good  fellowship  of 
love  always  be  his,  and  may  he  ever  be  prosperous  and  happy  in  this  hard 
world  of  strife  and  trouble. 

As  a parting  toast  in  behalf  of  all  those  who  admire  him,  who  enjoy  his 
soft  flow  of  delicious  humor  and  his  funny  sketches,  I cannot  do  better 
than  to  quote  Eugene  Field,  and  apply  to  “Zim”  a toast  from  us  all: 
“Here’s  to  you,  ‘Zim,’ 

May  you  live  one  thousand  years 
To  sort’er  keep  things  lively. 

In  this  vale  of  human  tears. 

And  here’s  that  we  may  live 
One  thousand  years,  too. 

Did  I say  a ‘thousand  years?  ’ 

No,  a thousand  less  a day; 

For  I shvould  hate  to  live  on  earth. 

And  learn  that  you  had  passed  away.” 


OR,  MAKING  THE  WORLD  LAUGH 


n 


INTRODUCTION 

Fame  brings  its  glories  and  its 
trials.  I constantly  receive 
letters  asking  for  “straight 
tips”  how  to  win  out  in  the  Pic- 
torial field.  My  spirit  is  willing, 
but  the  flesh  is  weak;  I cannot 
attempt  to  answer  the  thousa*nd 
and  one  questions  put  to  me  by 
k indly  correspondents,  so  I do  the 
next  best  thing.  I give  you  in  these  pages 
the  concentrated  essence  of  nearly  thirty 
years  of  experience  as  a Cartoonist  making 
the  world  laugh.  I write  more  or  less  hap- 
hazard— just  as  the  thoughts  come  to  me — 
a book  of  instruction  that  will,  I 
know,  appeal  to  the  young  student 
of  both  sexes  who  lack  opportunities 
for  personal  contact  with  men  of 
experience,  and  by  whom  an  Art 
Education  would  be  diffieult  were  it 
not  for  the  excellent  method  laid 
down  in  the  Course  for  Home  Study  put  out  by  the  Corre- 
spondence Institute  of  America,  Scranton,  Pa. 

Nearly  thirty  years  with  the  pen,  crayon  and  brush  makes 
m.e  one  of  the  “Old  Guard,”  and  although  an  appreciative 
public  has  placed  me  among  the  leaders,  I can  never  forget 
my  early  struggles,  and  I want,  indeed,  I earnestly  desire 
to  help  on  the  young  student  because  I want  him  to  LOVE 
HIS  WORK  as  I have  loved  it,  and  that  WITH  APPLICA- 
TION is  the  true  secret  of  Success. 

After  long  years  in  Comic  Art,  Cartooning  and  Caricaturing, 
I give  you  in  pure  but  simple  language,  remarks  with  humor- 
ous illustrations  which  will  point  the  way  to  a good,  and  I 
know  an  honest  living,  for  laughter  does  more  for  the  world 
than  much  of  its  misdirected  energy  in  a dozen  ways. 
Technical  terms  I cut  out,  I do  not  want  to  confuse  you, 
as  you  go  on  you  will  absorb  them  easily  enough.  Neither 
do  I in  the  instructions  I give  you  deal  with  tonsorial  art, 
fancy  gardening,  or  artistic  horse-shoeing,  nor  any  other 
cult  with  which  I am  not  familiar.  Caricature  I am  thor- 
oughly familiar  with,  and  with  that  through  these  pages 
you  and  I will  journey — loaf  by  the  wayside  for  a breathing 
spell  at  times,  then  go  on,  and  I tr  ust  reach  our  journey’s 
end  with  both  pleasure  and  profit. 

I really  don’t  think  the  dear  Lord 
ever  intended  that  I should  write  a 
book.  I was  driven  to  it,  however, 
to  satisfy  the  laudable  craving  for 
information  in  the  art  direction  of 
their  talents  that  all  young  and 
aspiring  artists  (especially  those  of 


12 


CARTOONS  AND  CARICATURES; 


moderate  means  and  away 
from  art  centers)  possess. 

You  can  read  and  profit 
by  my  experience.  I am 
basking  to-day  in  the  sun- 
shine which  a well-spent, 
hard-worked  life  brings, 
but  I have  gone  through, 
taken  all  degrees  and 
graduated  from  the  School 
of  Hard  Knocks  and  prof- 
ited by  the  buffettings  of 
Fate. 

My  sketches  will  I trust, 
help  to  make  the  reading 
less  tedious,  and  the  two 
combined  will  serve  to 
throw  at  the  cat  when 
ever  she  sticks  her  nose 
nto  your  business. 
ALWAYS  SMILE — then  smile  again — then  keep  on 
smiling.  It’s  the  finest  tonic  known.  I know  it!  ALWAYS 
FACE  THE  SUN! 

‘Don’t  hunt  after  trouble,  but  look  for  success,  ' ' . 

You’ll  find  what  you  look  for;  don’t  look  for  distress. 

If  you  see  but  your  shadow,  remember,  I pray. 

That  the  sun  is  still  shining,  but  you’re  in  the  way. ' 

Don’t  grumble,  don’t  bluster,  don’t  dream  and  don’t  shirk. 
Don’t  think  of  your  worries,  but  think  of  your  work. 

The  worries  will  vanish,  the  work  will  be  done, 

No  man  sees  his  shadow  who  faces  the  sun.” 


DON’T  BACK-PEDAL.  Keep  on,  and  in  keeping  on 
you  will  go  upward ! 

Life  isn’t  all  sunshine.  We  wouldn’t  appreciate  the  sun 
if  clouds  did  not  arise  now  and  again. 

DON’T  WHINE.  Thousands  of  people  in  small  positions  whine  because 
their  ability  has  no  elbow-room.  It  is  not  elbow-room  they  need;  it  is 
“ELBOW-GREASE;”  it  is  energy  and  strength.  Their  very  whining  shows 
they  are  too  small  for  the  place  they  are  in  now.  When  the  right  kind  of 
a person  has  too  small  a place  he  does  his  work  so  well  as  to  make  the 
the  place  bigger.  Let’s  get  in  and  make  the  job  bigger,  and  in  making  the 
job  bigger  we  get  bigger,  and  the  world  gets  our  best.  My  little  talk  written 
in  a varying  tone  of  seriousness  and  humor  is  nearly  done. 

I’ve  had  a lot  to  do  with  publishers,  and  if  you  go  on  and  win  you  will 
have  too,  so  here’s  a little  joke  for  you  to  illus- 
trate later  on:  He  was  a newspaper  publisher 

and  lay  ill.  The  doctor  came,  put  his  ear  to 
his  breast  and  said,  ‘‘All  that  troubles  you,  my 
dear  sir,  is  that  your  circulation  is  bad.” 

“Circulacion  bad.  Doctor?”  shrieked  the  man 
as  he  shot  upright  in  his  bed,  “Why,  man,  we 
have  the  largest  circulation  in  the  State!” 

Yours  for  success. 


OR,  MAKING  THE  WORLD  LAUGH 


13 


Young  man,  before  you  start  out  on  your  wild  and 
checkered  career,  permit  me  to  spill  a few  valuable 
notions  into  your  head. 

In  the  first  place  try  to  forget  that  you  are  a great  artist : 
And  lead  a natural  life.  Don’t  be  too  eccentric.  Be  like 
other  poor  mortals  who  love  to  earn  an  honest  living,  and 
the  world  will  love  you  the  better  for  it. 

When  you  get  into  the  public  eye  you  have  opeued  the 
way  for  innocent  attacks  upon  your  good  name.  For  in- 
stance, many  families  in  the  middle  and  lower  walks  of  life 
deem  it  an  honor  to  name  their  last  bom  after  vou.  Others 
feel  privileged  in  calling  their  pet  pugs  after  you.  This 
much  you  can  tolerate,  but  when  the  village  cigar  maker 
insists  upon  placing  your  cherished  name  on  his  latest  five 
cent  production,  you  begin  to  wish  that  Destiny  had  been 
less  kind  to  you.  This  is  what  happened  to  me,  and  it  fell 
to  my  lot  to  make  a label  to  fit  the  weed,  a sample  copy 
being  first  presented  to  me  from  which  to  draw  my  inspi- 
ration. Let  my  fate  be  a warning  to  fond  mothers  whose 
talented  sons  are  forging  to  the  front. 


14 


CARTOONS  AND  CARICATURES; 


TO 


^ALK.- 


GENIUS  vs.  BUSINESS  ABILITY 

you  feel  at  all  discon- 
tented with  your  lot 
(which  is  more  than  likely, 
for  most  artists  do), 
just  make  a careful  ob- 
servation of  the  sur- 
rounding situation,  and 
take  the  following  into 
consideration.  You  are 
young  and  have  genius, 
which  is  always  in  de- 
” mand,  and  will  com- 

pensate you  when  fully  developed.  Your  only  investment 
is  your  brain. 

The  business  man  may  have  superior  business  ability,  but 
he  must  first  invest  a sum  of  money  in  order  to  make  money. 
He  may  invest  in  mortgages  at  six  per  cent,  interest,  or  in 
merchandise  which  in  time  will  pay  him  a profit.  Suppose 
you  earn  $ioo  a week  at  drawing  pictures  without  the  invest- 
ment of  a dollar,  all  clear  profit,  as  it  were,  the  business  man 
may  be  obliged  to  carry  a stock  of  from  five  to  twenty 
thousand  dollars  to  gain  a profit  of  $ioo  per  week.  He  has 
also  rent  and  clerks  to  pay,  insurance  on  his  stock,  etc.  So 
then,  don’t  you  think  you  should  feel  contented  even  at  $25 
per  week  if  the  work  is  steady  and  if  you  are  not  too  anxious 
to  possess  automobiles  and  other  luxuries? 

PREVAILING  COMPLAINTS  OF  STUDENTS 


The  prevailing  complaint  of  the  student  is  that  he  doesn’t 
progress  as  fast  as  he  would  like,  that  his  instructor  will 
give  him  nothing  but  simple  subjects  to  draw,  such  as  lines 
and  cross-hatching.  Suppose  you  sought  a position  in  a 
bank,  would  you  not  prefer  to  commence  at  the  bottom  and 
gradually  work  up  to  the  presidency? 

Get  the  proper  swing  first,  just  like  a child  learns  music, 
learn  to  run  the  scale,  as  it  were,  before  you  tackle  Beethoven. 
Your  instructor  is  not  blind  to  your  faults  and  in  a method- 
ical way  is  helping  you  to  overcome  them. 

Your  head  is  like  an  incandescent  lamp,  your  brain  like 
the  carbon.  Regulate  your  lamp  of  genius  with  the  incan- 
descent in  your  bed  chamber.  When  you  turn  the  button 
the  light  goes  to  sleep  until  summoned  again.  Let  that  be 
your  motto — when  the  light  goes  out,  go  to  sleep;  get  good, 
refreshing  sleep,  and  start  in  with  a clear  mind  in  the  morning, 
and  ideas  will  come  to  you  fast  and  plenty. 

Napoleon  Bonaparte  was  a great  thinker.  He  said 
(according  to  historians)  that  his  head  was  like  a bureau — 
full  of  drawers.  Each  drawer  contained  certain  thoughts. 
When  he  retired  he  locked  all  the  drawers  and  went  peacefully 
to  sleep.  You  can  do  likewise  if  you’ll  exert  your  will  power 


OR,  MAKING  THE  WORLD  LAUGH 


IS 


THE  LIFE  OF  THE  CARICATURIST 

The  life  of  the  caricaturist  is  much 
the  same  as  the  life  of  the  pro- 
verbial plumber — ^both  command 
large  salaries. 

The  caricaturist  must  have  a keen 
perception  of  right  and  wrong,  but 
not  so  keen  that  he  can  detect  the 
political  faults  of  his  own  party.  He 
represents  the  only  party  of  purity 
and  reform.  In  the  opposition  he 
must  see  nothing  but  corruption  and 
mismanagement — for  this  he  is  paid 
a good  round  salary.  The  more  fault 
he  can  find  with  his  political  rivals, 
the  LARGER  and  ''roundeA'  his  salary 
becomes.  The  caricaturist  has  opin- 
ions of  his  own,  but  they  may  easily 
be  remoulded  by  an  offer  of  a more 
lucrative  position  on  a newspaper  of 
opposite  political  faith,  whereupon  he 
immediately  sees  the  unpardonable 
crimes  and  corruption  of  the  party 
he  has  just  deserted. 

When  caricature  was  in  its  infancy, 
the  man 
known  t o 

the  world  as  a caricaturist  was 
looked  upon  as  a wonder.  He 
had  no  predecessors  to  inspire 
him;  he  worked  alone  and  with- 
out any  of  the  facilities  which  we 
enjoy  in  the  present  day.  Science 
has  bestowed  upon  us  new  meth- 
ods of  engraving  so  simple  that  it  , 
requires  only  a few  hours  to  pro- 
duce results  that  would  have  oc- 
cupied days  or  weeks  in  times  of 
wood  engraving. 

Caricaturing  is  a pleasant  voca- 
tion now-a-days,  especially  if  there 
is  a substantial  salary  attached  to 
it  You  may  take  your  profession 
with  you  anywhere,  and  gather 
material  wherever  you  happen  to 
be. 

The  main  point  in  the  profession  is 
“The  Lead  Pencil” 

How  to  carve  it,  and  other  ad- 
vice to  the  unsophisticated. 

whenever  You  sketch  in 


i6 


CARTOONS  AND  CARICATURES; 


public,  in  order  to  throw  your 
audience  off  the  track  and  make 
uretr'c  T-.rr  o.  them  think  that  you  are  a full- 

£ I r fledged  caricaturist,  always  wear  a 
reckless  air  and  a common  twenty-five  cent  necktie. 

Sharpen  your  pencil  as  though  it  was  born  in  you.  In 
doing  so  be  careful  to  use  a jack-knife.  The  style  of  pencils 
mostly  used  by  the  profession  cost  about  nine  cents  per 
dozen  net  and  about  twelve  cents  per  dozen  minus  the  net. 
They  are  the  product  of  a Jersey  lead  mine  and  run 
in  strata  like  the  formation  of  the  earth.  The 
surface  pans  about  95  per  cent,  pure  lead,  gradu- 
ally running  into  a bed  of  clay,  now  and  then 
striking  a vein  of  quicksand,  and  a “bum”  rubber  \i 
on  the  end  constitutes  the  lead  pencil. 

If  any  man  expects  a bigger  layout  of  real 
estate  for  the  amount  invested,  he  is  not  worthy  of  a place 
among  us. 

are  starting  out  to 
may  as  well  start  right, 
pencils  in  the  market, 
on’s,  for  instance,  if 
and  good  tools,  you 
with  your  work, 
only  pen  fit  to  use.  I 
goo.d  picture  with 


05 


However,  while  you 
master  the  art,  you 
Get  the  best  quality  of 
F.  W.  Faber’s  or  Dix- 
you  use  good  material 
will  feel  better  satisfied 
A good  pen  is  the 
find  it  easier  to  draw  a 
good  pen  than  to  draw  a poor  picture  with  a poor  pen. 
The  pens  that  have  given  the  best  satisfaction  in  my  kind 
of  work  are  as  follows : 

Gillott’s  No.  290  for  fine  work  on  faces. 
Gillott’s  No.  303  for  ordinary  rough 
work,  and  Gillott’s  No.  659  Crowquilh 
Each  of  these  I use  alternately.  When- 
ever I find  one  acting  balky  I retire  it 
and  try  another. 

Condition  of  Tools 

Keep  your  working  material  and  tools  clean  and  in 
good  order.  If  you  allow  yourself  to  become  care- 


SPon 


less  in  this  respect 
of  your  negligence, 
of  tracing  paper 
included  in  your 
make  it,  take  any 
thin  linen  paper  and 
bit  of  dry  Prussian 
one  side  and  rub  it 


your 


drawings  will  show  the  effects 
A sheet 
should  be 
outfit.  To 
ordi  nary 
sprinkle  a 
blue  upon 
thorough- 


ly with  a cloth.  One  sheet  will  last  a year  and 
proves  very  handy  in  tracing  your  sketch  upon 
clean  cardboard,  if  you  do  not  wish  to  work 
directly  upon  it  with  lead  pencil. 


•+touDEK_  . 


OR,  MAKING  THE  WORLD  LAUGH 


17 


BE  MODEST 

TO  be  successful  as  a funny  man  you  should  be 
unassuming.  Don’t  presume  to  know  it  all, 
and  by  all  means  do  not  force  your  efforts  upon 
the  public  and  point  to  yourself  as  the  real  thing. 
Side-splitting  jokes  and  sketches  are  usually  created 
in  seclusion,  and  not  in  the  midst  of  an  admiring 
crowd  showering  praises  upon  you. 


Don’t  allow  your  head  to  get  swelled  by  flattery. 
Measure  your  own  importance  and  use  common 
sense  in  doing  so.  Take  success  modestly  and  don’t 
go  ’round  telling  people  you  had  a picture  published 
last  week — it  is  more  gratifying  to  have  them  remind 
you  that  they  saw  your  picture  in  print.  And  should 
your  drawings  be  returned  marked  “not  available,” 
don’t  despair,  but  slam  right  in  and  produce  more 
and  of  better  quality,  if  possible.  When  once  you 
have  made  a “hit”  the  publishers  will  ask  for  your 


i8 


CARTOONS  AND  CARICATURES; 


entire  output,  together  with  those  rejected  drawings 
of  former  days. 

Don’t  ask  silly  questions  such  as,  “How  do  you 
like  my  style  of  drawing?  ” or  “Don’t  you  think  I’m 
improving?  ” Modesty  compels  the  interrogated 
party  to  say  , “Yes;  it  is  great!  ” etc.,  when  down 
deep  in  his  soul  he  thinks  you’re  a Homarus  Vulgaris. 


SPONTANEITY 

To  illustrate  to  you  how  easily  ideas  come  to  one 
when  one  is  on  the  alert  for  them.  Some  time  ago 
I purchased  a 15  cent  package  of  silver  enamel,  which 
was  accompanied  by  a booklet  informing  the  good 
and  eeonomical  housewife  how  to  daub  it  on  to  make 
everything  look  like  new.  I was  at  the  same  time 
breaking  my  head  over  an  idea  for  a double  page 
for  “Judge,”  which  I must  get  out  at  once.  On 
reading  the  instructions  Jn  said  booklet  I struck 
the  exact  idea  that  I wanted.  Well,  you  wouldn’t 
believe  it,  but  that  15  cent  package  was  the  best 
investment  I ever  made. 

Though  I am  interested  in  all  sorts  of  Get  Broke 
Quick  Concerns,  that  was  the  first  and  only  time  I 
ever  got  my  original  capital  out  of  any  silver  or  gold 
investment. 


OR,  MAKING  THE  WORLD  LAUGH 


19 


HOW  DO  WE  GET  OUR  IDEAS? 

Vy^ELL,  they  come  to  us 
W in  various  ways.  A 
caricaturist  as  a rule  re- 
lies principally  upon  his 
own  fertile  brain  for  his 
material.  When  his  re- 
sources become  exhausted, 
which  is  often  the  case,  then 
he  resorts  to  ideas  which 
may  come  in  the  mail  from 
outside  contributors,  or 
suggestions  from  friends. 
He  sees  many  way  out  of 
his  predicament,  as  his 
mind  is  so  thoroughly 
trained  he  can  cope  with 
any  emergency.  Every 
artist  has  more  or  less  of  the  so-called  emergency 
material  on  hand  in  the  rough  state.  He  turns  to 
this,  when  occasion  demands. 


“ALL  YOU  NEED  TO  SAY” 

but  enclose  stamps  lor  a reply. 


20 


CARTOONS  AND  CARICATURES; 


ATTENTION  TO  CHARACTERISTICS 
OUPPOSE  your  subject  is  a man  with  decided 
^ features.  You  first  observe  in  his  face  the 
characteristic  lines.  If  his  nose  is  inclined  to  be 
chubby,  then  increase  its  chubbiness  a trifle.  If  it 
inclines  toward  the  long,  lean  hook  nose,  then  add 
a bit  to  the  hook  and  length.  Not  enough,  however, 
to  lose  the  resemblance  to  the  original.  A high  or 
low  forehead  you  must  increase  or  diminish  as  the 
case  may  call  for.  Thus  you  go  through  the  entire 
body,  legs  and  feet,  giving  to  each  member  its  char- 
acteristic peculiarity.  If  your  subject  possesses  a 
wart  on  the  tip  of  the  nose  or  elsewhere  in  sight,  then 
it  also  belongs  there  in  the  picture;  but  don’t  make 
those  unnatural  growths  too  disgustingly  conspicu- 
ous. When  possible  avoid  such  offensive  adjuncts 
as  warts,  corns,  bunions,  club  feet,  mutilated  hands 
or  anything  that  is  liable  to  retard  the  fun  in  your 
pictures. 


Take  for  example  the  Hebrew  and  the  Irish  face  as 
the  two  extremes  for  characteristic  curves.  You 
already  know  that  to  produce  an  Irish  face  you  must 
give  it  a pug  nose,  and  the  Hebrew  face  the  hook  nose, 
though  these  essentials  in  drawing  do  not  always 
exist  in  nature.  I have  seen  Irishmen  with  decided 
Jewish  noses,  and  Jews  with  noses  a little  inclined 
the  other  way.  However,  to  carry  out  the  purpose 
of  your  picture  you  must  stick  to  these  characteristics. 


OR,  MAKING  THE  WORLD  LAUGH 


21 


HUMAN  AND  ANIMAL  COMPOSITES 


TT  IS  part  of  the  caricaturist’s  business  to  see  things 
^ as  they  are  not.  For  instance,  in  transforming 
a human  face  into  that  of  an  animal,  the  artist 
observes  the  expressive  lines  of  the  human  face  and 
those  of  the  animal.  He  then  proceeds  to  amalga- 
mate the  two,  being  careful  to  retain  the  original 
likeness. 

AN  OUTLINE  OF  THE  PROCESS  OF  HALF=TONE  ENGRAVING 

The  methods  employed  in  producing  a half-tone 
cut  are  rather  complicated  and  somewhat  difficult  to 
describe.  In  the  first  place,  the  drawing  (wash 
drawing)  is  photographed  on  to  a negative,  the  nega- 
tive is  developed  and  dried.  Then  it  is  placed  over 
a sensitized  copper  plate  with  another  glass  with 
lines  on  it,  which  is  called  a screen,  placed  between 
the  negative  and  copper  plate.  The  combination 
fastened  in  a frame  is  then  placed  in  a strong  light, 
the  light  affecting  the  sensitized  plate  in  the  same 
manner  as  other  photographs  are  printed.  The 
copper  plate  is  then  placed  in  a bath  of  acid  for  a 
short  period.  This  is  called  etching.  When  the 
plate  is  sufficiently  etched  it  is  washed  and  mounted 
on  a block  of  wood  and  is  then  ready  for  the  printer. 

The  only  difference  between  half-tone  and  line  cut 
engraving  is  the  introduction  of  the  glass  screen, 
which  has  on  its  surface  many  very  fine  black  lines. 
The  finest  screen  used  for  magazine  work  contains 
about  150  lines  to  the  incL;  making  the  cost  about 
double. 


CARTOONS  AND  CARICATURES; 


WASH  DRAWING; 


as  prepared  for  half-tone  plate.  The  engraver  should  pay 
careful  attention  to  hand  tooling  the  white  portion,  such  as 
shirt,  cuffs,  collar  and  spats. 


OR,  MAKING  THE  WORLD  LAUGH 


23 


SAFE  TRANSMISSION  OF  DRAWINGS 

(See  also  page  28) 

TO  prevent  drawings  from  being  jammed  or  broken  in  the 
mail,  enclose  them  in  cardboard  tubes  or  between 
heavy  sheets  of  pasteboard.  The  publishers  will  not 
be  responsible  for  any  neglect  on  your  part  in  preparing 
them  for  safe  transmission. 


COMBINING  BUSINESS  WITH  PLEASURE 


Fishing  is  splendid  recreation  for  head-workers.  In  my 
opinion,  all  head-workers  ought  to  fish  at  least  a full  ten 
hours  each  day  and  sleep  the  rest  of  the  time.  This  rule 
followed  365  days  in  the  year  will  be  found  very  quieting 
to  the  nervous  system.  

I am  sure  I have  made  an  error  in  the  title  of  this  book. 
It  should  read,  “First  Aid  to  the  AtRicted.” 

;E  sign  'painting  trade  seems  to 
have  played  a prominent  role  in 
the  lives  of  men  who  have  achieved 
fame  in  art  and  literature.  There 
seems  to  be  a sort  of  relationship  be- 
tween sign  writing  and  comic  art. 
There  is  no  denying  the  fact  that 
one,  in  order  to  be  a good  news- 
paper artist,  should  know  some- 
thing about  lettering,  for  in  many 
instances  you  will  be  called  upon 
to  make  suitable  headings  for 
stories  and  special  column  head- 
lines. If  you  have  ever  had  expe- 
rience as  a sign  writer  you  will, 
no  doubt,  realize  this  fact. 


24 


CARTOONS  AND  CARICATURES; 


PLATE  MADE  FROM  WATER  COLOR  SKETCH.  SIZE  OF  ORIGINAL, 
15x20  INCHES.  THIS  STYLE  OF  PLATE  IS  CALLED  “HALF-TONe” 


OR,  MAKING  THE  WORLD  LAUGH 


BIBLE  SUBJECTS  AND  CARICATURE 

Sacrilegious 

application  of 
Biblical  subjects 


A STUBBORN  PROPOSITION 


class  exists  who  talk, any  way  but  correctly. 


to  fit  political  situa- 
tions should  not  be 
attempted.  It  is  bad 
form  to  link  the  name 
of  the  Saviour  with 
that  of  the  politician. 

The  more  you  boil 
down  sap  the  richer 
will  be  your  syrup. 
Likewise  with  a cap- 
tion, the  briefer  the 
caption,  the  better 
the  joke. 

CAPTIONS 

“Captions  in  ver- 
nacular,” means  the 
reading  matter  below 
the  picture,  written 
in  the  language  of 
any  particular  local- 
ity, without  regard  to 
grammar.  Every  city 
has  its  East  or  West 
side,  where  a certain 


A CUONTRY  EDITOR  WITH  HIS  “nOSE  ON  THE  GRINDSTONE*” 


26 


CARTOONS  AND  CARICATURES; 

GAIN  FRIENDS 


IT  is  cowardly  and  in  very  bad  taste  to  caricature  deformi- 
ties when  it  affects  an  individual,  either  in  public  or 
private  life.  The  sympathy  of  your  audience  will 
naturally  lean  in  the  direction  of  your  unfortunate  subject 
and  affect  their  appreciation  of  your  genius.  In  ordinary 
comics  which  bear  no  likeness  to  anyone  in  particular,  you 
may  take  such  liberties,  so  long  as  you  do  not  carry  them  to 
the  point  of  hideousness. 

Aim  to  make  your  pictures  pleasing,  not  repulsive; 
thereby  making  friends  not  enemies — ^for  upon  the  merits 
of  your  work  depends  your  success. 


Suspicious  Old  Hen:  “I  see  the  point!  I eat  with  you  to-day  and  you 

eat  with  me  to-morrow.  A sort  of  reciprocity.” 


OR,  MAKING  THE  WORLD  LAUGH 


27 


MIDNIGHT  INSPIRATIONS 

A SLATE  or  pad  and  pencil 
kept  at  your  bedside  (in 
a handy  place),  upon  which 
to  dot  down  inspirations  that 
occur  to  you  while  insomnia 
prevails,  will  relieve  your 
mind  greatly,  and  in  many 
cases  soothe  you  back  to  sleep. 

I don’t  know  what  inspirations  look  like,  but  I 
have  often  been  awakened  by  them.  After  my  kick- 
ing over  more  or  less  costly  bric-a-brac  in  an  effort 
to  find  a pencil  and  paper,  my  dear  wife  has  assured 
the  children  that  it  was  nothing  more  serious  than 
an  inspiration  that  ailed  papa,  and  that  without 
medical  treatment  or  the  aid  of  a doctor  their  father’s 
condition  would  soon  be  normal — then  he  vrould  see 


what  a silly  goose  he  was  for  letting  an  inspiration 
disturb  him.  Upon  my  word  and  honor,  I’d  rather 
be  troubled  by  skeeters  or  fleas  than  inspirations, 
and  so  I have  resolved  to  keep  a slate  and  pencil 
at  my  bed-side. 


28 


CARTOONS  AND  CARICATURES; 


OHEMIAN 


OOZE  ATMOSPHERE 


Many  promising  careers  have  come  to  an  abrupt  end 
through  over-indulgence  in  “Bohemianism.”  A boy, 
when  he  enters  the  art  arena,  quite  naturally  thinks  it 
the  proper  caper  to  become  a thorough  “Bohemian.”  . To 
follow  this  life  in  its  true  sense  is  all  very  well;  but  the 
average  art  student  is  quite  apt  to  mix  it  up  too  freely  with 
beverages  of  amber  and  more  ruddy  tints — a nerve-wrecking 
and  career-destroying  course. 

Bear  in  mind,  strong  beverages  are  no  promoters  of 
powerful  ideas,  nor  is  a torpid  liver  conducive  to  executing 
them.  Being  a head-worker  you  need  rest.  Get  your 
natural  rest,  keep  your  liver  in  condition,  so  that  you  can 
enjoy  your  food;  then  you  will  also  enjoy  your  work. 

REVERSING  A PHOTOGRAPH 

In  copying  a side  or  three-quarter  view  photograph  you 
frequently  have  occasion  to  turn  the  face  in  an  opposite 
direction.  To  do  this,  just  face  the  photograph  toward  a 
mirror  and  copy  the  reflection. 


TO  REVERSE  A PHOTOGRAPH 

The  dotted  work  in  the  background  of  the  above  cut  is 
what  is  known  as  the  Ben  Day  process.  It  is  largely  used 
in  lithography,  in  putting  in  delicate  tints,  and  in  many 
cases  in  Ailing  in  pen  and  ink  drawings.  A further  descrip- 
tion of  this  process  would  be  of  no  particular  vahie  ' o the  be- 
ginner. Your  Art  Director  will  explain  this  when  necessary. 

Writers,  like  doctors,  often  disagree.  If  you  have  already 
read  the  opinions  of  other  caricaturists  you  might  have 
noticed  this  fact.  I am  giving  you  advice  from  my  point 
of  view  only. 


OR,  MAKING  THE  WORLD  LAUGH 


29 


A FEW  WORDS  ALONG  STRAIGHT  LINES 


IN  this  sketch  I have  endeavored  to  show  how  the 
long  straight  lines  should  be  disconnected  by 
other  objects  cutting  into  them. 

Observe  the  following  rules  when  you  are  designing 
the  background  to  a drawing.  Avoid  long  straight 
or  curved  lines  without  some  object  breaking  into 
them.  They  are  inartistic  and  disturbing  to  the  eye. 
The  accompanying  sketch  illustrates  how  you  can 
make  your  backgrounds  interesting. 

Draw  in  your  background  as  though  you  were 
arranging  a stage  setting,  putting  the  various  pieces 
of  furniture  in  such  positions  as  to  break  up  the 
monotony  of  blank  space  and  long  lines.  Frequently 
a good  play  falls  flat  owing  to  poor  arrangement  of 
objects  on  the  stage.  I draw  this  comparison  so 
that  you  will  remember  when  at  the  theatre  to  note 
the  stage  arrangement. 

The  object  in  illustrating  this  matter  is  to  impress 
it  more  vigorously  upon  your  mind,  for  it  is  a well 
known  fact  that  pictures  speak  louder  than  words; 
so  I live  in  hope  that  should  you  forget  my  words 
you  will  not  forget  the  pictures. 


30 


CARTOONS  AND  CARICATURES; 


ANNER  OF  SUBMITTING  JOKES  IN  THE  ROUGH 

WHEN  you  have  established  a repu- 
tation in  the  Art  world,  you  need 
only  send  to  the  publisher  a rough  un- 
finished sketch  explaining  the  joke.  The 
editor,  being  familiar  with  the  style  and 
quality  of  your  drawing,  will  advise 
you  to  proceed  with  it  or  inform  you 
that  it  is  not  available,  in  which  case 
you  are  out  only  the  little  time  the  sketch  has  cost 
you. 


Kind  Lady — Calm  yourself,  my  good  man;  surely  you  must  have 
some  ties  of  affection  in  this  world? 

Discouraged  Tramp — No;  mum!  I know  no  ties  but  dose  what  rail- 
roads is  built  on. 


If  you  expect  any  recognition 
when  you  rap  at  the  gates  of 
paradise,  for  goodness’  sake  don’t 
be  stingy  with  your  surplus  knowl- 
edge; divide  it  with  your  strug- 
gling art  friends. 


31 


OR,  MAKING  THE  WORLD  LAUGH 


GESTURES 

Perhaps  one-haif  of 
the  people  we  meet 
“talk  with  their 
hands.”  The  orator  puts 
force  into  his  remarks  by 
using  his  hands  to  express 
his  thoughts  more  pointed- 
ly. Many  public  men  have 
peculiarities  of  gesticula- 
tion. This  is  a point 
worthy  of  note  when  cari- 
caturing a public  man. 

DRAWING  EXPRESSIVE 
HANDS 

If  you  wish  to  put  any 
particular  force  or  expres- 
sion into  hands,  use  your 
own  as  a model.  Your 
hands  may  contain  too 
many  lines  or  wrinkles;  in 
that  case  draw  only  such 
lines  as  are  absolutely 
necessary  to  make  them 
natural,  and  full  of  bones 
and  meat;  your  eye  will 
guide  you  in  observing  the 
lines. 


necessary  from  the  unnecessary 


32  CARTOONS  AND  CARICATURES; 


SAFEST  WAY  TO  SHIP  DRAWINGS 

NO  matter  how  carefully  you  may  wrap  up  drawings  for 
shipment,  they  do  not  reach  their  destination  in  first- 
class  condition.  A tube  containing  drawings  is  liable 
to  become  crushed  in  transmission.  Whenever  I have  any- 
thing of  importance  to  put  through  the  mail,'  to  make  it 
doubly  sure  that  it  will  arrive  free  from  mutilation,  I saw 
off  a section  of  one  of  the  hind  legs  of  the  kitchen  table  and 
wrap  my  drawing  around  it.  Where  tables  are  scarce  a 
broom  handle  will  serve  the  same  purpose. 

Drawings  wrapped  in  this  manner  will  defy  the  ravages 
of  the  baggage  smasher.  Every  day  drawings  are  received 
at  the  newspaper  offices  in  a horribly  mutilated  condition — 
the  fault  of  the  artist  in  every  case. 

The  safest  way  to  transmit  drawings  is  by  express  with 
valuation  attached.  Then  they  are  put  through  at  the 
express  company’s  risk. 


OR,  MAKING  THE  WORLD  LAUGH 


33 


THE  FINISHED  PEN  DRAWING,  PENCIL  LINES  ERASED 

THE  COUNTRY  POST=OFFICE 

Did  you  ever  take  notice  of  the  public  bulletin  board  in 
a country  postoffice  ? The  postoffice  is  usually  in  one  corner 
of  the  only  grocery  or  general  merchandise  store  of  the  settle- 
ment, and  right  next  to  the  cod-fish  and  dried  herring  counter. 

On  the  bulletin  board,  which  is  for  the  accommodation 
and  enlightenment  of  the  community,  you’ll  find  scraps  of 
paper  informing  you  that  “Jonas  Silleker  lost  his  fals  teeth 
las  nite,  and  will  pay  a liberal  reward  for  the  return  of  same 
before  Sunday  mornin’  at  lo  o’clock,  as  he  is  invited  out  to 
dinner  and  must  have  ’em  to  fulfill  the  engagement.  Price 
no  object.”  And  that  Allen’s  mill  will  grind  grist  Monday. 
P.  S.  At  too  o’clock  next  week. 

Lost  articles  are  displayed  on  this  board  for  identification, 
and  to  a man  or  boy  who  has  a funny  streak  in  his  make-up, 
there  is  much  food  for  thought. 


34 


CARTOONS  AND  CARICATURES ; 


Drawn  on  Ross’  ruled  Scratchboard  No.  lo.  This  board  can  be  had  in  many 
designs.  Send  to  art  material  stores  fur  samples 


Ecksteik  (after  having  tooth  extracted):  “I  wonder  ccf  he  will  allow 
me  anydings  fur  that  i8  karat  golt  filling  in  dees  toodh,” 


OR,  MAKING  THE  WORLD  LAUGH  35 

SPATTER  EFFECTS 


Avery  effective  background  may  be  made  by  intro- 
. ducing  spatter  work,  the  treatment  of  which  I will 
describe,  viz: 

First  outline  your  drawing  with  ink,  allow  it  to  dry,  then 
cover  with  paper  the  parts  you  wish  to  protect,  and  leave 
the  parts  to  be  spattered  exposed.  Use  a clean  tooth  brush. 
Swab  a little  ink  into  the  bristles,  then  shove  the  brush 
across  a stick  or  case  knife. 

SNOW  STORM 
EFFECTS 

Snow  storm  effects 
may  be  had  by  spray- 
ing “white”  (water 
color)  paint  upon  the 
dark  background  in 
the  same  manner  as 
above  described. 


36  CARTOONS  AND  CARICATURES; 

SHOES  THAT  DENOTE  CHARACTER 


Ep^st  5it)£ 


T^7HEN  you  make  a character  sketch  be  sure  to 
^ append  an  appropriate  foot. 

The  one  great  fault  with  the  youth  of  to-day  is 
that  he  reads  of  fabulous  salaries  paid  to  artists  on 
newspapers,  and  without  wishing  to  taste  of  the 
preliminary  hardships  which  lead  to  large  salaries, 
he  expects  to  land  right  into  a newspaper  office:  it’s 
the  proper  treatment  of  details  that  earns  big 
salaries. 


37 


OR,  MAKING  THE  WORLD  LAUGH 


JOT  WHILE  JOGGING 

^4 


SKETCH  SHOWING  POINTS  FROM 
WHICH  WRikKLES  START 

WHENEVER  you 
hear  or  see  any- 
thing that  strikes 
you  as  ludicrous  jot  it 
down  in  your  sketch 
book  for  future  reference;  perhaps  You  can  work  it  into  car- 
toon some  day.  You  have  noticed  the  small  boy  on  the 
street,  no  doubt,  picking  up  scraps  of  string,  pins,  and  rusty 
nails,  and  jamming  them  deep  down  into  his  pants’  pockets. 
Did  you  ever  stop  to  reason  out' what  he  intended  to  do  with 
them?  They  were  his  stock  in  trade.  When  he  had  col- 
lected enough  string  he  would  wind  it  into  a ■ baseball. 
Heaven  knows  what  he  did  with  the  rusty  nails  and  pins! 
However,  that  is  the  way  we,  too,  pick  up  material  that 
others  have  dropped,  and  eventually  weave  it  into  a joke 
or  picture. 


“reception  day’’ 


38 


CARTOONS  AND  CARICATURES; 


ROUGH  PENCIL  SKETCH 


The  correspondence  schools  have  made  it  possible  for  a 
boy  to  develop  his  natural  gifts  in  almost  any  line  of 
profession  or  trade. 

Newspaper  art,  illustrating,  cartooning  and  caricaturing 
seem  to  be  playing  a prominent  part  and  at  a nominal  cost. 
Problems  are  worked  out  and  trade  secrets  divulged  which 
to  the  early  youngster  meant  two  or  three  years’  apprentice- 
ship without  compensation. 

If  there  is  the  slightest  art  germ  lingering  in  a boy’s 
sytsem  the  correspondence  school  will  develop  it. 


OR,  MAKING  THE  WORLD  LAUGH 


39 


FINISHED  PEN  AND  INK  DRAWING 

THE  COST  OF  “LINE  CUTS” 

The  minimum  price  for  line  cuts  is  about  fifty  cents. 
That  is,  if  you  wish  a single  cut  made  one  inch  square 
it  will  cost  just  as  much  as  a cut  containing  ten  square 
inches.  It  involves  the  same  trouble  to  produce  the  one  as 
the  other,  but  you  can  combine  a lot  of  small  drawings  to 
be  reduced  on  one  large  plate,  then  cut  them  apart,  the}^ 
will  cost  only  the  regular  rate  of  five  cents  per  square  inch 
aside  from  the  cost  of  sawing  apart. 


CARTOONS  AND  CARICATURES; 


DRAWING  FEATURES  WITH  THE  AID  OF  A MIRROR 

XYTHEN  drawing  distorted  fea- 
W tures  you  will  observe  that 
your  own  face  assumes  simi- 
lar contortions.  Like  the  tailor, 
when  cutting  a piece  of  cloth.  He 
brings  his  jaws  together  in  unison 
with  every  snip  of  his  shears.  You 
will  find  it  much  easier  to  depict 
an  expres- 
sion by  us- 
ing a small 
mirror,  thus 
copying  the 
n e cessary 
lines  from 
your  own 
c o u n t e n- 
ance. 


Ort 


Beginners  are  apt  to  put  super- 
fluous lines  into  a face,  and  when 
the  drawing  is  reduced  these  lines 
are  brought  closer  together.  The 
result  is  a botchy  confusion  of  lines 
and  the  expression  destroyed.  Work 
up  your  faces  with  as  few  lines  as 
possible,  as  the  expression  of  the 
face  has  much  to  do  with  the  suc- 
cess of  a comic  picture. 

Just  study  these  four  sketches  for 
a few  mo- 
ments ; you 
will  And  I 
them  good  C 
examples  of  k 
the  effect 
produced  by 
using  a few 
lines  only. 


oucm  ! 


3oy 


E>^rR^/v\E.  JOY. 


OR,  MAKING  THE  WORLD  LAUGH 


41 


THE 

ARICATURIST:  ACHES  AND 
PAINS  vs.  HUMOR 

The  caricaturist  cannot  always 
be  funny.  He  has  his  aches 
and  pains  like  other  mor- 
tals. He  sometimes  bets  on  what  he 
thinks  is  a sure  thing  and  for  a while 
has  the  humor  knocked  out  of  his  “funny- 
_ bump.”  A bilious  attack  is  not  liable  to 
yield  side-splitting  effusions;  therefore,  when  you  find  that 
he  is  below  his  usual  standard  of  funniness,  you  must  make 
allowance  for  conditions  which  may  have  deprived  him  for 
the  time  of  his  drollery. 


ONE  ON  ME! 


I am  not  superstitious,  but  here  is  one  on  me.  A friend, 
and  a very  successful  business  man,  too,  noticed  that  I was 
signing  my  name  with  a downward  slant.  Said  my  friend, 
“Never  again  sign  your  name  downhill!  Always  sign  it  up 
hill,  it  looks  more  prosperous.”  From  that  moment  I have 
signed  my  drawings  up  hill,  and  I really  believe  there  was 
truth  in  his  assertion. 


HOW  TO  INVEST  YOUR  SURPLUS 

As  soon  as  you  can  afford  it,  especially  if  you  have  anyone 
dependent  upon  you,  lay  aside  a part  of  your  salary  each 
week  for  life  insurance.  If  you  have  no  dependents,  then 
take  out  an  endowment  policy  for  ten  or.  twenty  years, 
payable  to  yourself. 


CARTOONS  AND  CARICATURES; 


GOOD  FROM  CENTER  TO  EDGES 

iHIS  book  is  like  the  pumpkin  pie  that 
mother  used  to  make:  Every  bite 

is  good  and  no  particular  place  to 
start  in. 

There  is  no  front  or  back  to  it — 
no  special  place  where  the  villain 
enters  and  the  green  lights  are  turned 
on.  Ever}^  page  finishes  its  own 
chapter.  The  chapters  come  in  small 
chunks  and  are  easily  digested. 


When  you  get  into 
the  public  eye  you 
have  opened  the  way 
for  innocent 
a t t a c k s 
upon  your 
good  name. 
For  instance, 
many  fam- 
ilies in  the 
j jmiddle  and 
w*;"  lower  walks 
J of  life  deem 
^ it  an  honor 
to  name 
their  last 
bom  after 
you.  Others 
feel  privi- 
leged in  call- 
ing their  pet 
pups  by  your  name. 
This  much  you  can  tol- 
erate, but  when  the 
village  cigarmaker  in- 
sists on  placing  your 
cherished  name  on  his 
latest  five  cent  pro- 
duction you  begin  to 
wish  that  destiny  had 
been  less  kind  to  you. 

This  is  what  hap- 
pened to  me  and  it  fell 
to  miy  lot  to  make  a 
label  to  fit  the  weed,  a 
sample  copy  being  first  presented  to  me  from  which  to  draw 
my  inspiration. 

Let  my  own  fate  be  a warning  to  fond  mothers  whose 
talented  sons  are  forging  to  the  .front. 


THE  ABOVE  SKETCH  WAS  MADE  ON 
SCRATCH  BOARD  NO.  27,  STIPPLE  FINISH  IN 
IMITATION  OF  LITHOGRAPH  STONE 


OR,  MAKING  THE  WORLD  LAUGH 


43 


SINGLE  OR  DOUBLE 

O 


CANNOT  say  whether  a man,  in  order  to 
become  famous  as  a caricaturist,  should 
be  married  or  unmarried.  I have  known 
both  classes  to  succeed.  In  the  face  of 
the  facts  before  me,  it  would  be  safe  for 
me  to  state  that  a man,  to  be  successful 
in  any  matter  he  undertakes,  should  be 
either  married  or  unmarried. 


BUSINESS  LYING,  IN  WHICH  ARTISTS  ARE  NO  EXCEPTION 
TO  THE  RULE 

Men  are  often  obliged  to  lie  in  business.  I have  seen  so 
much  of  this  sort  of  thing  that  I can  hardly  refrain  from 
doing  so  myself.  I mean  innocent  lying,  such  as  women 
are  wont  to  do  when  the  front  door  bell  rings  and  the  maid, 

under  instructions,  informs  the  ringer  that  the  Mrs. has 

just  left  for  Paris  and  would  not  return  till  fall.  If  .you  must 
lie  at  all,  confine  it  to  the  six  working  days,  and  for  heaven’s 
sake  hold  the  Sabbath  sacred  and  untarnished. 


VALUE  OF  EARLY  EXPERIENCES 

DON’T  despise  the  hard  knocks  in  early  life;  they  will 
prove  an  after-benefit  to  you.  You  are  gaining  an  educa- 
tion which  will  be  invaluable  in  your  profession.  The  dif- 
ferent trades  and  callings  with  which  circumstances  have 
brought  you  in  contact  have  taught  you  how  various  utensils 
are  made,  and  how  they  are  used,  and  how  people  feel  and 
act  who  use  them;  and  whenever  you  have  occasion  to  make 
a picture  embracing  these  utensils  and  people,  your  knowl- 
edge of  them  will  save  you  considerable  research. 

I will  enumerate  a few  of  my  most  important  shifts  of 
profession  before  I reached 
the  object  of  my  ambition: 

Beginning  with  a baker’s  at- 
tendant, then  office  boy,  news- 
boy, silk  weaver,  cotton  spin- 
ner, farmer,  fishmonger,  wine 
bottler,  sign  painter  and  sten- 
cil cutter,  besides  a series  of 
short  term  engagements  too 
numerous  to  mention. 

All  this  time,  however,  I 
had  . a desire  to  make  a better 
man  of  myself,  but  owing  to 
the  enormous  cost  of  engrav- 
ing, there  was  little  demanck 
for  artists  upon  newspapers. 


44  CARTOONS  AND  CARICATURES; 


PENCIL  SKETCH 


STUDY  THE  COMIC  JOURNALS 

YOU’LL  find  it  splendid  practice  to  read  over  the  jokes 
in  the  comic  papers  and  build  a picture  to  them  in  your 
own  way.  Do  not  offer  such  drawings  for  sale,  as 
they  are  not  original  with  you.  Dispose  only  of  such  draw- 
ings as  you  are  sure  have  never  appeared  in  print. 

SIGN  PAINTING  AS  AN  ADJUNCT 

The  sign  painting  trade  seems  to  have  played  a piominent 
role  in  the  lives  of  the  men  who  have  achieved  fame  in  art 
and  literature.  There  seems  to  be  a sort  of  relationship 
between  sign  writing  and  comic  art.  There  is  no  denying 
the  fact  that  one,  in  order  to  be  a good  newspaper  artist, 
should  know  something  about  lettering,  for  in  many  instances 
you  will  be  called  upon  to  make  headings  for  stories  and 
special  column  headlines.  If  you  have  ever  had  experience 
as  a sign  writer  you  will  no  doubt  realize  this  fact. 


OR,  MAKING  THE  WORLD  LAUGH 


45 


FINISHED  DRAWING 


'^HE  Caricaturist  should  be  considered  in  the  light 
^ of  a hero.  Ele  has  the  power  to  make  men 
great  who  deserve  greatness.  Many  politieal  Shining 
Lights  would  have  gone  to  the  grave  unobserved 
were  it  not  for  the  pencil  of  the  Caricaturist:  and  it 
is  also  well  to  remember  that  many  who  posed  as 
“friends  of  the  masses”  have  been  sent  into  obscurity. 


46  CARTOONS  AND  CARICATURES; 


The  drawing  room  artist  invariably  signs  himself  in  fourteen 
syllables,  while  the  comic  artist  is  satisfied  with  one  or  two. 


OR,  MAKING  THE  WORLD'  LAUGH 


47 


PEN  DRAWING 


Here  I show  you  (as  in  other  cases  in  this  book)  a pen 
drawing  as  finished  after  a rough  layout.  (See  page 
46).  How  much  the  rough  study  and  the  finished 
sketch  help  you  depends  entirely  upon  how  closely  you  go 
into  the  details  in  each  drawing.  Take  the  man’s  feet  and 
watch  the  details:  then  examine  in  both  drawings  the 
hands  and  the  head  and  you  will  thereby  gain  valuable 
experience. 


48 


CARTOONS  AND  CARICATURES; 


THE  ARTIST  AND  HIS  IMPORTANCE 


) wiuu  uEAVEl 
Them  For_your 


WHEN  you  seek  the  approval 
of  publishers,  don’t  try  to 
convince  the  person  to 
whom  you  submit  your  sketches 
that  they  are  the  best  lot  of  draw- 
ings ever  offered  for  publication. 

Remember  this  person  is  an  apt 
critic,  hired  for  the  purpose  of 
selecting  the  most  desirable  work 
for  publication.  He  may  be  the 
Art  Editor.  If  so,  his  opinion  H 
law  in  the  Art  Department. 

If  your  drawings  are  re- 
jected it  does  not  signify 
that  your  work  in  not  up 
to  the  standard.  The  Art 
Department  may  have  suf- 
-Ai£R.  material  on  hand 

for  several  issues.  In  that 
case,  try  other  publishers. 
Write  your  full  name  and  ad- 
dress upon  the  back  of  every 
drawing  and  enclose  stamps  for 
their  return. 


THE  ART  EDITOR 

An  artist  at  any  stage 
of  his  career  approaching 
an  art  editor  with  a degree 
of  modesty,  will  meet  with 
due  courtesy.  Don’t  insist 
upon  an  immediate  inspec- 
tion of  your  drawings.  An 
art  editor  is  usually  a busy 
sort  of  man,  who  jumps 
from  one  joke  to  another 
without  rest.  He  looks 
upon  original  drawings  as 
so  much  merchandise.  Un- 
less he  has  ample  time  to 
study  the  drawing  and  joke 
and  the  space  it  will  occupy 
in  the  paper,  he  cannot  giv-e 
them  the  consideration  nec- 
essary on  short  notice,  and 
consequently  they  are 
turned  down  when  a few 
days’  delay  might  make 
them  available. 


OR,  MAKING  THE  WORLD  LAUGH 


49 


DRAWING  UP  AN  IDEA 

1.  Write  out  your  joke  as  briefly  as  possible. 

2.  Fix  the  picture  in  your  mind,  so  that  when  you 
look  at  the  blank  bristol  board  you  can  already  see 
your  picture  upon  it  (but  in  your  mind). 

3.  Sketch  the  picture  lightly  and  with  some  care 
upon  the  cardboard  with  lead  pencil,  then  follow 
the  pencil  lines  with  India  ink.  When  the  ink  is 
dry  erase  the  pencil  marks.  If  the  sketch  is  to 
represent  two  figures,  similar  to  cut  on  this  page, 
begin  with  the  two  men  in  the  fore  ground  and  grad- 
ually work  toward  the  background.  Make  your 
figures  appear  as  though  speaking  the  words  of  the 
joke — not  with  set  jaws. 


Black  and  white  jokes  are  called  “Comics”  or 
“Insides,”  meaning  for  the  inside  of  the  paper.  In 
making  a “Comic”  don’t  be  too  grotesque  in  your 
drawing — keep  within  the  bounds  of  nature.  There 
is  an  abundance  of  humor  in  nature  without  the 
slightest  exaggeration ; a little  exaggeration  flavors 
it,  but  too  much  makes  it  grotesque  and  hideous, 
instead  of  humorous. 


50 


CARTOONS  AND  CARICATURES; 


SKETCH  MADE  WITH  FRENCH  CRAYON  UPON  GRAY  TINTED  WATER  COLOR 
OR  CHARCOAL  BOARD.  SIZE  OF  ORIGINAL  DRAWING,  15X20. 

There  is  a preparation  called  “Fixatif,”  which,  when  you 
make  charcoal,  crayon,  pastel  or  lead  pencil  drawings,  you 
spray  over  the  surface  of  your  drawings  with  a blow  pipe 
that  comes  with  the  outfit.  This  coating,  when  dry,  will 
prevent  the  drawing  becoming  rubbed  or  marred. 


OR,  MAKING  THE  WORLD  LAUGH  51 


LINE  CUT CHARACTER  SKETCH 

Reduced  to  one-half  the  origina’  size. 


52  CARTOONS  AND  CARICATURES; 


SUGGESTION  OR  IDEA  SUBMITTED  IN  THE  ROUGH 


Old  Fawn,  reproachfully;  “Sir!!!  Such  impertinence.” 

Census  Taker:  “Beg  pardon,  madam.  1 mean,  how  young  are  you?” 


A play  on  words,  illustrating  the  sound  of  a word  regard- 
less of  its  real  meaning. 


OR,  MAKING  THE  WORLD  LAUGH 


53 


MUSIC  TO  WHICH  WE  ARE  OBLIGED  TO  HARKEN 


A years  old  over  in  our 
town  tliet  can  drawer  your 
pitcher  so  good  thet  you 
kin  almost  recognize  it,” 
Now  what  that  boy  wants 
to  do  is  to  learn  to  draw  it 
so  good  that  you  will  recog- 
nize it,  not  almost  recog- 
nize it.  There  are  a lot  of 
almost  artists  in  the  world 
who  can  almost  draw,  and 
some  of  them  are  almost 
Gibsons,  yet  there  is  only 
one  Gibson.  The  almost 
never  looks  any  greater  in 


T 


'HERE  is  a boy  ten 


the  public  eye  than  the  ordinary  run  of  men. 

Gibson  is  a master.  The  fact  is  demonstrated  by  his  army 
of  imitators,  and  the  reason  of  it  is:  he  is  strictly  original. 


Perhaps  the  hardest  simple  object  to  draw  correctly  from 
memory  is  a silk  plug  hat;  it  is  so  perfectly  shaped  that  the 
slightest  discrepancy  in  drawing  it  is  perceptible. 

An  open  umbrella  is  also  very  difficult  to  draw  correctly 
without  a real  one  as  a model.  Give  a little  of  your  attention 
to  the  plug  hat  and  the  umbrella. 

Sometimes  a drawing  can  be  made  very  effective  by 
putting  in  heavy  black  shadows,  as  I have  shown  in  most 
of  the  drawings  in  this  book. 

In  caricature  there  is  a happy  medium  between  the  gro- 
tesque and  the  sublime;  when  you  reach  that  point  in  your 
drawings,  stop. 


PLUG  HAT  AND  UMBRELLA 


54 


CARTOONS  AND  CARICATURES; 


KCMY  « <S'OLJffi, 


f HOV 1 £5CAP£D  ‘THE  PRAFT. 


(See  also  sketch  on  page  87) 

ELL  do  I remember  the  strug- 
gling days  of  ’61.  I was  born 
the  year  following.  Neverthe- 
less, I had  fight  in  me  the 
moment  I crossed  the  threshold  of  my  father’s  and  mother’s 
homm  and  made  myself  welcome.  It  was  in  Basil,  Switzer- 
land, where  most  of  the  Switzer  cheese  is  made,  and  I suppose 
my  Franco-German  blood  was  sizzling  and  asserting  itself. 

I remember  distinctly  the  first  news  at  the  happy  hour 
of  my  birth  was  of  the  conflict  on  American  soil.  I longed 
to  go  at  once.  My  parent  could  not  bring  me  as  he  had  his 
day’s  baking  yet  in  the  oven.  As  young  as  I was  I could 
readily  understand  the  situation  and  I brooded  constantly 
over  the  fact  that  the  conflict  would  be  at  an  end  ere  I could 
reach  the  divided  United  States.  I became  a “Perfect 
Brooder.” 

Alas,  such  is  the  luck  of  those  who  are  not  born  early  in 
life.  My  good  parent,  to  pacify  me,  promiised  to  arrange 
a special  war  in  France  for  my  benefit,  which  he  proceeded 
at  once  to  do.  First  taking  me  to  an  uncle’s  home  in  Alsace, 
so  that  I might  study  the  political  conditions  and  military 
situation  of  that  country.  Seven  years  later,  after  getting 
the  Franco- Prussian  war  well  under  way,  I bundled  up  a 
few  doughnuts  and  sailed  for  America,  where  all  was  quiet 
and  peaceful  again. 

Since  that  period  my  life  has  been  pretty  well  thrashed 
out  by  biographers,  but  never  have  they  touched  upon  this 
very  early  and  most  important  data. 

Truth,  ever}^  word  of  it, 

I assure  you. 


OR,  MAKING  THE  WORLD  LAUGH 


55 


COMMON  PACKING  BOARD.  SIZE  OF  ORIGINAL,  IOXI3 

Crayon  drawing  made  upon  common  gray  packing 
cardboard. 


56 


CARTOONS  AND  CARICATURES; 


TYTHENEVER  you  hear  a man  declare  himself  so 
W prolific  in  ideas  that  he  could  fill  a comic 
paper  every  twenty-four  hours  with  his  outbursts 
of  side-splitting  humor,  you  may  depend  upon 
it  that  there  is  something  radically  wrong  about  the 
person.  The  man  is  yet  unborn  who  is  so  profuse  in 
acceptable  ideas  that  he  could  do  the  work  of  four  or 
five  or  ten  men.  He  might  create  lots  of  ideas  that 
may  seem  the  essence  of  wit  to  himself,  but  not  to 
millions  of  people  for  whose  amusement  they  are 
intended.  The  public  is  the  best  judge  of  a good 
joke.  A paper  catering  to  the  tastes  of  the  general 
public  must  have  as  much  variety  as  possible,  both 
in  drawing  and  ideas.  Publishers  recognize  this  fact, 
and  for  that  reason  no  one  single  artist  is  ever  allowed 
to  fill  the  entire  paper. 

In  newspaper  art  there  are  three  distinct  branches: 
political  cartooning,  comic  art  and  society  drawing. 
The  artist  who  can  picture  a drawing-room  scene  to 
perfection  will  be  less  forcible  in  comic  work,  it  is 
like  comparing  the  ring-master  with  the  clown. 
Both  of  these  functionaries  know  all  about  the  circus, 
but  neither  could  fill  the  other  one’s  place.  You 
should  decide  which  branch  of  the  art  you  like  best, 
and  try  to  make  a success  of  the  one  you  are  most 
fitted  for. 


OR,  MAKING  THE  WORLD  LAUGH 


57 


SOLILOQUIZING 


This  style  of  joke  is  called  a soliloquy,  which  means 
talking  to  one’s  self. 


COLOR  VALUES  IN  BLACK  AND  WHITES 


F you  are  not  familiar  with 
pen  and  ink  drawings  and  do 
not  understand  color  values 
(lights  and  shadows) , you 
might  draw  as  nearly  as  pos- 
sible in  outline  and  gradually 
develop  into  the  former.  One 
is  apt  to  overdo  his  sketches 
unless  he  knows  exactly 
where  and  how  to  put  in 
shadows  to  get  the  best 
possible  results. 


5^ 


CARTOONS  AND  CARICATURES; 


DON’T  BE  TOO  NERVY 

SHOULD  you  at  some  future  time  be  commissioned 
to  sketch  faces  at  a convention,  in  a hotel  lobby, 
or  in  the  street,  don’t  be  too  nervy.  Don’t  plant 
yourself  before  the  individual  and  stare  him  out  of 
countenance — the  person  might  be  sensitive.  You 
will  make  him  feel  unpleasant  and  perhaps  cause  him 
to  change  his  expression,  so  that  you  will  be  unable 
to  get  a good  likeness.  If  you  are  too  bashful  to 
ask  consent  to  sketch  him,  don’t  display  your  nerve 


by  staring  him  into  submission.  It  is  not  at  all 
difficult  to  perform  your  task  of  sketching  your  sub- 
ject— it  can  be  done  in  a sly  manner  entirely  unbe- 
known to  the  party  being  sketched.  When  your 
caricature  is  published  the  individual  will  be  dumb- 
founded to  see  himself  in  print. 

Many  times,  while  performing  like  duties,  I would 
under  the  pretext  of  sketching  some  other  object  cast 
side-glances  at  my  subject,  keeping  him  unaware  of 
the  fact  that  I was  caricaturing  him.  I felt  satisfied 
at  gaining  my  point  and  having  made  no  one  unhappy 
or  uncomfortable. 


OR,  MAKING  THE  WORLD  LAUGH 


59 


CHARACTER  SKETCH ORIGINAL  DRAWING, 

5x8  INCHES 

Note  how  the  smaller  design  altho’ 
much  reduced  still  stands  out  clear  and 
sharp. 


6o 


CARTOONS  AND  CARICATURES; 


COMPANION  PICTURES 

TWO  or  more  companion  pictures  telling  a story 
are  called  serials,  or  in  speaking  of  them  in 
another  sense,  one  would  refer  to  them  as  a series  of 
drawings.  The  story  usually  starts  off  in  a normal 
state  and  ends  in  acrobatic  confusion.  For  instance: 


“There  lays  poor  Finnegan,  dead  to  the  world,  and  divil  a bit  does  he 
know  phat  a good  toime  he’s  havin’!’’ 


“Oi  say,  Finnegan,  wake  oop!  and  see  how  yer  enjoying  yer  schlape.” 


OR,  MAKING  THE  WORLD  LAUGH 


6i 


DON’T  WASTE  YOUR 
GENIUS 

Refrain  from  carica- 
turing acquaintances, 
unless  you  are  sure  they  are 
not  of  a sensitive  nature, 
else  you  may  incur  their 
enmity.  If  they  are  sen- 
sitive or  vain  they  do  not 
deserve  the  attention  of 
your  pencil  or  pen.  You 
may  ridicule,  but  don’t  of- 
fend. 


THE  SAUSAGE  FACE 


I was  sixteen  years  old  before  I earned  anything  more  than 
board  and  clothing,  then  I secured  a position  with  a pictorial 
advertising  sign  concern,  and  I received  nine  dollars  per 
week  the  first  year  and  fifteen  the  third.  Then  an  opening 
presented  itself,  and  I gave  up  my  fifteen  dollar  job  for  a 
five  dollars  per  week  salary  on  a New  York  illustrated  paper. 
I knew,  however,  that  with  my  love  for  comic  art,  energy 


and  perseverance,  all  of 
could  not  remain  long  at 
such  low  tide.  I soon  got 
acquainted  with  advertising 
publishers  who  offered  me 
commercial  work.  After  a 
while  I had  quite  a clien- 
telle  outside  of  the  office,  so 
that  hardly  a week  passed 
that  I did  not  have  $50  or 
$75  in  my  pockets  above 
my  weekly  salary  from 
newspaper  work.  So  I say, 
don’t  expect  to  become  a 
full-fledged  high  salaried 
artist  in  twenty  minutes. 
Sooner  or  later  an  oppor- 
tunity will  loom  up,  then 
grab  it,  even  at  the  sacri- 
fice of  another  job. 


I had  a plenty,  my  salary 


THE  AUTO  FACE 


CARTOONS  AND  CARICATURES; 


T DON’T  wish 
^ you  to  con- 
fine yourself 
entirely  to  my 
methods  — you 
should  read  the 
opinions  of 
others  as  well. 
We  do  not  all 
work  alike,  con- 
sequently w e 
cannot  think 
alike. 

Give,  for  in- 
stance, ten 
comic  . artists 
the  same  joke  to 
illustrate,  and 
you  will  see  that 
not  two  of  them 
will  grasp  the 
situation  alike. 

It  would  be 
good  practice 
for  the  beginner 
to  take  a pub- 
lished caption 
from  one  of  the 
comic  papers 
(ignore  the  pic- 
t u r e entirely) 
and  work  out 
the  situation  in 
his  own  way, 
just  for  practice. 


GOOD  PRACTICE 


OR,,  MAKING  THE  WORLD  LAUGH 


63 


PROPER  BALANCE 

Balance  your  figures  properly.  Don’t  make  them 
appear  as  if  they  seem  about  to  tip  over;  if  you  find 
it  difiicult  to  do  so,  then  draw  up  and  down  lines 
upon  your  cardboard  (as  indicated  by  dotted  lines)  where 
the  figures  are  to  stand.  These  lines  will  guide  you  in 
keeping  the  figures  plumb. 


REDUCTION  OF  DRAWINGS 

It  is  wise  sometimes 
to  sacrifice  good 
drawing  for  effects. 
I mean  by  this,  that 
a drawing  made  large 
and  carefully  treated 
may  not  show  up  so 
well  when  reduced 
as  a drawing  treated  with  more  vigor  and  dash.  A bold, 
dashy  drawing  will  stand  a greater  reduction  with  better 
effect.  By  using  a reducing  glass  you  will  be  able  to 
determine  the  amount  of  reduction  your  drawings  will 
stand.  A reducing  glass  is  the  opposite  to  a magnifying 
glass.  The  former  has  both  sides  of  its  glass  concave.  whii.e 
the  latter  is  convex.  They  can  be  procured  at  artists’  or 
opticians''  supply  stores. 


64 


CARTOONS  AND  CARICATURES; 

RELIEVED  BY  THE  LAYING  ON  OF  HANDS 


pvRAWINGS  based 
upon  puns  or  par- 
odies on  popular  songs 
and  slang  phrases,  al- 
though ever  so  well  ap- 
plied, become  tiresome. 
Don’t  harp  on  this  class 
of  joke,  only  turn  out 
one  occasionally.  The 
ordinary  dialogue  is  the 
most  marketable.  Al- 
ways place  your  figures 
in  a position  in  keeping 
with  the  wording  of  the  joke.  The  reading  matter 
to  a joke  is  called  the  “caption.”  In  speaking  of 
it  use  this  term,  as  it  covers  all  that  applies  to  that 
part  of  the  pictures. 


SUPERSTITIOUS 


Portly  Parker;  Hello, 
Brown!  You  are  getting 
thinner  and  thinner  every 
day.  That’s  a bad,  bad 
sign. 

Skinny  Brown;  Say,  old 
man,  do  you  reall^^  believe 
in  signs? 

Portly  Parker;  Of  course 
I do;  and  always  did. 

Skinny  Brown;  Then  if 
you  can  turn  around  with- 
out discommoding  yourself 
just  read  the  one  behind 
you. 


OR.  MAKING  THE  WORLD  LAUGH 


65 


i 


CROBATIC  DRAWING 

Acrobatic  poses,  or 
figures  in  evolution,  require 
a stretch  of  imagination. 
It  would  be  next  to  im- 
possible to  find  a man  who 
in  the  name  of  comie  art 
would  be  willing  to  reeeive 
a hook  to  the  solar-plexus 
from  a playful  mule,  so  you 
must  draw  entirely  upon 
your  imagination  for  all  such  attitudes. 


THE  COMMERCIAL  SIDE 

You  may  possess  a fair  knowledge  of  earicature 
without  my  adviee  or  guidance,  but  there  are  many 
things  pertaining  to  the  commercial  end  of  the  pro- 
fession whieh  all  students  should  take  into  account. 
To  make  a drawing  is  one  thing;  to  dispose  of  it 
quite  another. 


“I  have  noticed  with  extreme  sorrow  the  utter  lack  of  real  art  and 
merit  in  your  alleged  humorous  publication  and  having  your  interests 
deeply  at  heart,  I pray  you  to  consider  this  symphony  in  sepia.  I shall 
be  most  happy  to  permit  the  publication  of  this  precious  work  in  your 
periodical.  My  price  is  one  hundred  per  drawing.  I shall  call  for  my 
check  in  the  morning.” 

This  sort  of  artist  gets  fifteen  per  instead  of  one  hundred  for  his 
recious  symphony  in  sepia. 


OR,  MAKING  THE  WORLD  LAUGH  67 


Blinky  Bliss:  “What’s  dem!  battle  flags?” 

Rocky  Ruggles:  “Naw!  Laundry.  It’s  me  good  luck  to 
have  de  anniversary  of  de  fall  of  Wicksburg  come  on  my 
annual  wash-day;  so  I’m  dryin’  me  linen  an’  celebratin’  de 
joyous  occasion  at  the  same  time.’ 1 


68 


CARTOONS  AND  CARICATURES; 


THE  HOBO  BRAND 

HE  Tramp  or  “Hobo”  affords 
much  material  for  fun.  He  can 
be  made  humorous  and  genteel, 
or  dirty  and  disgusting.  It  is 
advisable  to  make  him  not  too 
genteel  nor  too  disgustingly 
dirty. 

Hobo:  “Well,  1 swan!  if  me  valey  haint 

fergot  to  fill  me  matchsafe  agin.” 

TWO  IMPORTANT  DONT’S 

Don’t  insist  upon  sending  your  drawings  to  a busy 
artist  for  his  inspection  and  criticism.  Remember 
it  involves  considerable  work,  whieh  he  is  expected 
to  perform  without  peeuniary  reward.  The  simple 
inspection  of  your  work  is  not  all  that  is  expected  of 
him.  There  is,  besides,  his  criticism  in  writing,  which 
in  itself  is  more  annoying  than  his  other  daily  labors. 
Then  there  is  the  repacking,  addressing  and  remailing 
of  your  drawings.  This  robs  him  of  valuable  time. 
In  many  instances  postage  is  even  omitted,  which 
is  a serious  oversight,  and  shows  a lack  of  apprecia- 
tion of  the  favors  you  anticipate.  Don’t  forget  to 
enclose  stamped  and  addressed  envelope,  whenever 
you  desire  a reply. 


THE  coroner’s  JURY 


OR,  MAKING  THE  WORLD  LAUGH 


69 


A MAN’S  OWN  CASTLE 

A MAN’S  own  castle  is 
the  proper  place  for 
his  art  workshop,  for 
then  the  whole  family 
can  enjoy  his  genius.  He 
feels  perfectly  at  ease. 
Things  look  so  different, 
so  domesticated,  as  it 
were,  and  so  unlike  the 
dull  life  of  the  studio. 

I intended  no  reflection 
upon  the  management 
of  my  household  when  I 
made  this  picture,  as  my 
wife  alw'ays  asks  of  me  before  doing  so  if  I object  to 
having  the  dishpan  left  upon  my  desk  while  she  sweeps 
down  and  dusts  the  cobwebs  in  the  kitchen.  Well,  as  I 
would  not  for  the  world  have  the  dishwater  soiled  with 
dust  and  cobwebs,  I assure  her  in  gentle  tones  that 
she  may  bring  in  the  stove  and  sink  also.  I want  her 
to  feel  perfectly  at  home  in  her  own  house  above  all 
things. 

Never  place  a valuation  on  your  drawings-,  the  art 
editor  will  attend  to  that  and  send  you  a check  for 
the  sum  he  considers  them  worth  to  his  publication. 
You  little  know  the  public’s  wants — the  success  of  an 
artists’  efforts  depends  upo.n  the  way  they  are  read  by 
the  public.  Often  a feeble  joke  meets  with  great 
applause;  while  many  a powerful  joke  (in  the  judg- 
ment of  the  artist)  has  fallen  upon  the  public  like  an 
icicle. 


71 


OR,  MAKING  THE  WORLD  LAUGH 


A FEW  “POINTERS” 


JOKE,  whether  told  by  word  or  picture, 
should  be  brief.  A sketchy  background 
lends  a sort  of  reckless  abandon  to  the 
picture,  which  is  pleasant  to  the  eye. 

Drawings  should  be  made  at  least 
twice  the  size  they  are  to  appear 
in  print.  This  gives  you  a better  op- 
portunity to  work  up  the  detail;  the 
word  “detail”  meaning  any  acces- 
I sories  that  have  no  direct  bearing  on 
the  joke  itself,  but  which  add  bits 
of  interest  to  the  picture. 

You  should  not  be  harsh  in  your 
caricature  of  women.  It  is  neither 
cute  nor  gentlemanly  to  injure  woman’s  vanity  by 
caricaturing  her. 


A man,  unless  he  is  too  vain,  likes  to  be  caricatured. 

Don’t  draw  things  which  are  liable  to  reflect  un- 
favorably upon  your  character. 

Ignore  questionable  subjects;  everything  lewd  or 
obscene.  Good,  thinking  people — who  compose  the 
largest  class  that  enjoy  your  efforts — despise  such 
work,  as  well  as  the  artist  who  produces  it. 


72 


CARTOONS  AND  CARICATURES; 


RIGHT  AND  WRONG  INTERIORS 

I GIVE  you  here  two  views  of  an  interior,  showing  the 
right  and  wrong  way  of  grouping  your  furniture  and 
bric-a-brac,  so  that  parallel  lines  will  not  conflict  with 
one  another. 

In  another  part  of  this  book  I have  made  a sketch  of  the 
interior  of  a grocery  store,  to  demonstrate  how  the  long 
continuous  lines  should  be  broken  into  by  other  objects. 
Now  I want  to  call  your  attention  to  the  conflicting  parallel 
lines  in  the  sketch  No.  i,  and  the  same  interior  as  it  should 
be  drawn  in  sketch  No.  2.  This  does  not  apply  to  interiors 
alone,  but  in  the  grouping  of  human  and  animal  bodies  the 
same  rule  should  be  followed. 


No.  I No.  2 


Don’t  overcrowd  your  drawings.  Put  in  just  enough  to 
explain  the  joke,  with  sufficient  details  in  the  background  to 
make  the  whole  tolerable.  There  is  such  a thing  as  being 
too  funny.  Like  the  comedian  of  the  stage,  you  must  know 
when  and  where  to  stop  or  you  will  weary  your  audience. 

Don’t  get  offended  when  anyone  feels  disposed  to  criticise 
your  work.  Even  the  criticism  of  an  inexperienced  person 
may  put  fresh  thought  into  your  own  brain.  The  innocent 
prattle  of  a child  will  often  give  one  an  idea.  The  experienced 
artist  welcomes  criticism. 


WASH  DRAWING 

This  is  termed  a wash  drawing.  First  outline  your  figure  lightly,  then 
wash  in  with  water  color  lamp  black  m.ade  thin  with  water,  the  light 
parts  first,  gradually  making  it  stronger  by  working  it  over  tintil  you 
attain  the  effect  desired.  On  white  cardboard  the  above  result  may  be 
accomplished  without  using  white  paint,  but  if  made  on  tinted  cardboard 
you  must  use  white  for  high  lights,  the  eye«,  cuffs  and  shirt  bosom  in  par- 
ticular._  A soft  effect  may  be  had  by  using  .slightly  tinted  gray  board,  the 
engraving  is  called  “Half-tone,”  the  process  of  which  1 have  described 
in  another  part  of  the  book. 


74  CARTOONS  AND  CARICATURES; 


DOES  IT  PAY  TO  BE  YOUR  OWN  PRESS  AGENT? 

It  may  not  be  good  taste  to  blow  one’s  own  hom,  though 
all  newspapers  do  it  and  profit  well  thereby.  Yet  how 
should  we  ever  have  been  aware  that  Dr.  Kilmer’s  Swamp 
Root  is  such  a spring-time  marvel,  and  Lydia  Pinkham’s 
concoction  would  never  have  been  known  to  the  world  had 
not  she  herself  extolled  its  superior  merits,  and  again  we 
would  never  have  dreamed  that  No.  23  cures  colds  and 
coughs,  that  No.  13  is  good  for  spine  in  the  back  and  ingrown 


75 


OR,  MAKING  THE  WORLD  LAUGH 


FINISHED  DRAWING 


toenails  were  it  not  for  Mimyon’s  own  and  oft  repeated 
words  of  assurance  that  such  is  the  case. 

But  dare  you  or  I look  the  public  in  the  face  and  exclaim, 
“I  am  the  great  and  only  57  variety  artistic  Pickle.  With 
a single  dose  of  my  pencil  I will  change  your  sad  counte- 
nance into  perpetual  giggles.”  No,  indeed,  if  you  did  this 
some  uniformed  gentleman  would  bear  you  to  a padded 
cell  and  your  salary  in  the  outside  world  would  cease.  Keep 
a closed  mouth  and  let  the  public  do  the  talking.  It’s  a 
slow  process  to  success,  but  a sure  one  if  you  deserve  it. 


76 


CARTOONS  AND  CARICATURES; 


WHERE  NATURE  EXCEEDS  ART 

HOW  d i d nature 
ever  think  of  so 
many  funny  things  ? 

That  is  the  question 
you  often  ask  yourself 
as  you  look  upon  some 
living  caricature  walk- 
ing along  the  streets. 

Nature  has  cert  a i n 1 y 
accomplished  wonders  in  that  line.  She  has  produed 
characters  that  even  the  cleverest  pencil  cannot  im- 
prove upon,  so  it  is  wise 
to  stick  to  nature.  Let 
nature  form  the  basis  of 
all  your  drawings,  then 
distort  it  to  a limited 
degree. 

Caricature  is  nothing 
more  nor  less  than  nature 
distorted.  If  you  intend 
to  follow'  the  art  of  cari- 
caturing you  had  better 
begin  the  collecting  of 
photos  and  prints  of 
public  men.  You  may 
^some  day  be  obliged  to 
use  them  in  your  car- 
toons. 


HOW  TO  COPYRIGHT  DRAWINGS 


■m 


If  you  invent  an  idea  and  wish  to  retain  control  over 
it  for  the  purpose  of  publishing  it  yourself  you  should 
have  it  copyrighted.  Send  to  the  Librarian  of  Con- 
gress, Washington,  D.  C.,  for  a copyright  application 
blank,  fill  it  out  and  send  it  with  a print  of  your 
drawing  just  as  it  will  appear  on  the  market.  The 
cost  is  slight,  not  exceeding  one  dollar.  Remit  fee 
with  your  application. 

Do  not  copyright  your  work  if  you  wish  to  sell  it 
to  a publisher.  The  publisher  always  reserves  that 
right,  when  he  buys  your  drawing  he  buys  all  the 
privileges  that  go  with  it. 


OR,  MAKING  THE  WORLD  LAUGH 


77 


TREATMENT  OF  SUBJECTS  IN  PEN  AND  INK  FOR  PHOTO-ENGRAV- 
ING FOR  ORDINARY  NEWSPAPER  ILLUSTRATION 


78 


CARTOONS  AND  CARICATURES; 

THE  PIRATE 


The  man  who  imitates 
the  work  of  another  and 
offers  it  for  publication  as 
original  is  known  to  the  pro- 
fession as  a pirate.  The  pub - 
) lisher  being  the  first  to 
recognize  the  imitation, 
there  is  a possibility  that 
his  work  will  be  rejected. 
Create  a distinct  style  of 
your  own;  you  can  do  this 
by  not  imitating  others. 
When  you  have  weaned 
yourself  from  the  habit  of 
‘I.  imitating,  you  will  find  it 
quite  easy  to  invent  new 
faces  and  comic  situations. 
Be  original,  by  all  means. 
The  originator  is  sought 
by  the  publisher  and  receives 
handsome  reward  for  his 
productions.  The  imitator  is  not  so  much  in  de- 
mand. Besides,  there  is  a feeling  of  satisfaction  in 
the  knowledge  that  you  have  given  the  public  some- 
thing entirely  original,  even  if  it  isn’t  so  w'ell  exe- 
cuted. 

Some  artists,  in  laying  out  a drawing,  will  first  make 
an  elaborate  sketch  upon  thin  Manila  paper,  then 
rub  upon  the  reverse  side  of  the  Manila  paper  some 
powdered  Prussian  blue,  making  a tracing  paper  of  it. 
This  done,  they  trace  the  drawing  upon  Bristol  board 
with  a steel  point  or  hard  pencil,  after  which  the 
drawing  is  finished  in  India  ink.  This  is  a.  slow  and 
tedious  method,  during  which  you  lose  much  of  the 
snap  and  fire  of  the  original  sketch.  I always  draw 
directly  upon  the  Bristol  board  with  soft  pencil, 
keeping  the  Bristol  board  as  clean  as  possible.  I do 
not  confine  myself  closely  to  the  pencil  lines,  but  make 
any  changes  with  my  pen  that  I find  necessary  in 
the  completion  of  my  drawing. 


OR,  MAKING  THE  WORLD  LAUGH 


79 


POLITICAL  CARTOONING 

The  caricaturist  of  to-day 
who  holds  a good  sal- 
aried position  has  no  sine- 
cure. He  must  represent  one 
or  the  other  of  the  political 
elements — shifting  from  side 
to  side  weakens  his  arguments. 
He  must  take  up  the  gauntlet 
of  his  chosen  party  and  ad- 
here strictly  to  its  principles. 
His  ideas  must  be  confined  to 
the  welfare  of  the  paper  that 
gives  him  employment  as  well 
as  his  party.  He  cannot  shift 
about,  attacking  at  random. 
He  must  first  ascertain  if  an 
attack  is  to  the  welfare  or 
detriment  of  his  publication, 
or  else  he  may  injure  its  circu- 
lation. He  must  not  create  imaginary  wrongs,  but  attack 
such  political  dealings  as  are  known  facts.  With  his  pencil 
he  must  speak  the  sentiments  of  the  public,  not  his  own 
entirely.  Should  the  circulation  drop  off  a few  thousand 
copies  or  gain  a few  thousand  it  is  liable  to  be  the  cause  of 
the  cartoon;  for  naturally  a powerful  cartoon,  such  as  will 
cause  comment  on  the  street  and  at  the  club,  or  notices  to 
appear  in  newspapers  in  its  favor,  will  induce  the  public 
to  buy  the  paper,  and  swell  its  circulation.  For  this  sort  of 
cartoon  the  caricaturist  is  ever  on  the  alert.  Freelancing  or 
peddling  jokes,  sketches  and  drawings  is  perhaps  the  most 
satisfactory  way  to  begin.  It  brings  the  unknown  artist  to 
the  notice  of  many  publishers  of  varied  tastes. 

If  your  drawings  do  not  suit  the  fancy  of  one  pub- 
lisher they  may  another,  and  so  you  will  eventually 
find  a publisher  who  will  insist  on  having  a contract 
with  you  for  your  entire  product.  To  my  knowledge 
most  of  the  artists  whose  names  are  familiar  to  us 
have  started  in  this  manner  on  their  professional 
journey. 

While  it  is  generally  known  that  most  cartoonists  com- 
mand good  salaries,  you  must  not  lose  sight  of  the  fact  that 
many  made  martyrs  of  themselves  in  the  beginning  on 
salaries  of  five  and  eight  dollars  a week — their  salaries 
increasing  with  long  service  and  popularity  of  their  work. 


8o 


CARTOONS  AND  CARICATURES; 


HISTORY,  BIOGRAPHY,  FACTS  AND  FIBS 

The  day  I began  to  inflict  myself  upon  the  public 
as  a caricaturist  was  a certain  Monday  in  the 
fall  of  1882 — I think  it  must  have  been  blue 
Monday — perched  upon  the  tailboard  of  a Metropol- 
itan street  car,  with  only  a friedcake  and  a cup  of 
weak  coffee  to  bolster  up  my  inner  youth  and  lay 
the  corner-stone  for  an  illustrious  career.  Yes,  it 
seemed  to  me  the  bluest  Monday  I had  ever  experi- 
enced. Nobody  appeared  to  realize  my  importance 
in  this  world — that  a future  great  man  was  among 
them.  I was  received  at  the  office  of  a certain 
weekly  publication  without  the  blare  of  trumpets  and 
booming  of  cannon,  and  after  the  usual  preliminaries, 

I sauntered  into  the 
open  air  to  select  a 
cafe  befitting  my 
salary  and  station. 
Meanwhile,  the  fol- 
lowing inducement, 
swinging  in  that 
blue  Monday  atmos- 
phere, caught  my 
eager  eye: 

“pork  and  beans 

AND  A BIG  SCHOONER 
FOR  5c.” 

I weighed  up  the 
prospects  of  a glow- 
then  did  I declare 
and  for  seventeen 
self  to  the  hateful 

^ ^ ^ increased,  and  I was 

soon  able  to  sit  down  to  Hungarian  goulosh  and 
“a  la  modes”  with  impunity. 

Many  would  like  to  live  this  life  over,  but  I,  dear 
friend,  with  the  memories  of  that  Greenwich  Street 
cafe  still  fresh  in  my  mind — “Nay!  Nay!  Pauline!  ” 
Previous  to  that  period  my  existence  was  con- 
spicuously uneventful,  except  that  my  father  never 
wholloped  me  in  his  life,  and  sometimes  would  let  me 
sleep  in  his  bake-shop  on  the  tops  of  flour  barrels. 


ing  future,  and  there  and 
that  place  my“Delmonico” 
weeks  did  I subject  my- 
crniit  Mv  sala.rv  vraduallv 


OR,  MAKING  THE  WORLD  LAUGH 


8i 


By  the  time 
you  have  reaehed 
this  the  8ist  page  of  this 
book  I think  you  may  think 
Cartoonists  are  a funny  lot,  so  I 
insert  here  my  latest  photo  by  Gessford 
of  N.  Y.  After  all,  you  see  I look  very 
much  like  any  other  man  who  loves 
his  work,  and  in  loving  his  work, 
has  succeeded  in  making  a 
place  for  himself  in 
the  world 


82 


CARTOONS  AND  CARICATURES; 


PRODUCTION  OF 
COLORED 
CARTOONS 

Double  page  (colored)  cartoons  are  drawn  upon  lith- 
ographic stone.  This  stone  is  imported  and  is  from 
2^  to  4 inches  in  thickness,  has  a smooth,  light  gray 
surface,  slightly  grained,  so  as  to  take  hold  of  crayon  readily. 
The  crayons  used  for  this  purpose  are  of  a greasy  nature 
and  are  graduated : soft,  medium  and  hard. 

When  the  crayon  work  of  the  cartoon  is  finished  it  is  out- 
lined with  lithograph  ink,  also  of  a greasy  nature.  This 
done,  the  cartoon  passes  out  of  the  hands  of  the  artist  and 
receives  the  attention  of  the  transferer.  That  man  puts 
the  stone  through  a process  of  acid,  after  which  impression 
is  taken  upon  starched  paper.  Duplicates  are  made  upon 
other  stones  or  metal  sheets  from  the  starched  sheets  of 
paper. 

The  original  stone  is  rarely  used  to  print  from;  it  is  kept 
for  the  purpose  of  making  transfers.  Four  complete  copies 
of  “Judge”  are  printed  at  one  impression  on  the  press.  I 
mean  by  this  that  four  front  pages,  four  double  pages  and 
four  back  pages  are  printed  at  once  upon  a single  sheet  of 
paper,  then  cut  apart,  consequently  requiring  only  one- 
fourth  the  time  to  run  off  the  week's  edition. 

Each  additional  color,  red,  blue,  gray,  yellow,  etc.,  requires 
separate  stones,  which  also  undergo  a similar  process.  This 
is  called  Lithography. 

YOU  CANNOT  JUDGE  A MAN  BY  HIS  MAKEUP 

HE  following  conversation  was  over- 
heard by  a friend,  and  imparted  to 
me  on  the  quiet,  with  a bit  of  advice 
to  change  my  makeup. 

Commercial  traveler,  approaching 
tough  kid — “Say,  bub,  ain’t  that  lean 
fellow  with  black,  curly  hair  over  on 
the  corner  ‘Whats-his-name,’  the 
artist?” 

“Naw,  dat’s  the  deputy  sheriff,  de 
chief  of  police,  first  assistant  of  de 
fire  department,  etcetra,  he  tends 
bar  in  his  fadder’s  hotel.  But  yer 
see  dat  feller  over  on  der  udder  comer,  wid  a red  nose  and 
looks  like  a cider  bar’l?  Well,  he’s  de  feller  what  youse 
tought  de  udder  was.” 


OR,  MAKING  THE  WORLD  LAUGH 


83 


AMERICAN  CARICATURE’S  FOUNDER 

WHENEVER  we 
speak  of  caricature 
it  is  quite  natural  to 
drift  back  some  forty  or 
fifty  years  to  the  real 
beginning  of  the  era  of 
American  caricature  and 
its  founder,  Thos.  Nast. 

Thos.  Nast  was  a po- 
tent factor  in  directing 
public  opinion  against 
the  political  thieves  of 
that  period.  Nast  was 
original.  It  was  he  who 
originated  the  Republi- 
can elephant,  and  the 
Democratic  jackass,  each  respectively  symbolical  of 
its  party.  Now,  if  Nast’s  political  principles  had 
been  Democratic  and  his  drawings  published  by  a 
Democratic  paper,  he  might  have  created  the  jackass 
as  the  symbol  of  the  hateful  Republican  party,  and 
the  elephant  might  have  been  used  to  typify  the 
sentiment  of  the  Grand  Old  Democracy. 

Nast  had  an  odd  technic;  unlike  anything  of  the 
present  day,  a style  which  was  hard  to  imitate.  His 
faces  were  excellent  specimens  of  caricature.  Although 
you  will  hardly  find  an  imitator  of  the  Nast  style, 
his  name  will  live  for  centuries. 

In  Nast’s  day  public  attention  was  centered  to 
one  paper.  Harper’s  Weekly,  to  see  what  Nast  had 
to  say.  It  was  an  era  of  terrible  political  corruption. 
He  had  abundance  of  material  at  hand,  a powerful 
paper  to  put  it  forward,  and  no  rivalry  to  impede 
his  fearless  onslaughts. 

He  stood  conspicuously  alone  in  the  field  of  cari- 
cature. At  the  present  time  there  are  hundreds  of 
caricaturists  on  the  various  daily  and  weekly  papers, 
who,  under  similar  circumstances,  would  be  consid- 
ered just  as  clever  as  was  Thos.  Nast;  but  such 
advantages  as  he  enjoyed  are  things  of  the  past.  We 
honor  his  memory,  nevertheless,  for  setting  us  the 
pace. 


84  CARTOONS  AND  CARICATURES; 


This  is  a rough  pencil  sketch  “hot  off  the  bat,”  as  Dooley 
might  say,  dashed  off  just  as  the  idea  struck  me.  It  might 
appear  to  be  a careless  rougboiit  but  look  it  over,  there’s  a 
lesson  to  be  learnt  from  it. 


OR,  MAKING  THE  WORLD  LAUGH 


85 


This  is  a more  or  less  finished  pen  sketch  worked  up  from 
the  drawing  on  the  opposite  page.  You  will  notice  that  I 
do  not  adhere  strictly  to  my  original  lay-out,  no  artist 
really  does' 


86 


CARTOONS  AND  CARICATURES; 


A LITTLE  ABOUT  THE  EAR! 


THE  EAR  AND  ITS  RELATION  TO  THE  FACE 

WHEN  we  caricature  a prominent  individual  we  lay  great 
stress  on  portraying  the  general  features,  such  as 
the  eyes,  nose  and  mouth,  but  seldom  do  we  give  the  proper 
attention  to  drawing  the  ears  Ears  are  not  all  alike,  each 
human  face  has  its  characteristic  ears.  No  other  ears  will 
fit  that  particular  face  and  resemble  the  original. 


REGARDING  BLACKS  AND  WHITES 

I once  received  a telegram  from  the  Art  Editor  of  our 
paper  asking  me  to  come  to  New  York  at  once  and  bring 
along  all  the  black  and  whites  I could  scrape  together. 
Of  course  he  meant  black  and  white  drawings  for  the  inside 
of  the  paper;  but  the  inquisitive  depot  operator  placed 
a different  construction  to  it.  So  he  noised  it  about  that 
I was  getting  up  an  excursion  for  the  poor  Blacks  and  Whites 
of  the  town  and  he  had  the  station  agent  quote  me  special 
rates  on  parties  of  from  twenty-five  to  solid  vestibule  train 
loads. 

I hope  with  the  advent  of  a universal  language,  technical 
terms  will  be  abolished. 


OR,  MAKING  THE  WORLD  LAUGH 


87 


(See  page  54) 


WHEN  the  Boer  war  was  at  its  zenith  an  English  acquaint- 
ance remarked  that  there  was  the  opportunity  of  a 
lifetime  for  the  comic  artist  to  depict  funny  incidents. 
“I  cannot  see,”  said  I,  “that  there  in  anything  particularly 
mirthful  in  the  slaughter  and  slashing  of  good  and  true  men.” 
‘‘Why,  just  think  of  the  many  funny  attitudes  of  the  English- 
men jabbing  bayonets  through  the  stomachs  of  the  horrid 
Boers,”  said  my  acquaintance. 


‘‘Now,”  said  I,  ‘‘let  us  take  the  opposite  view,  let  us  vice- 
versa  this  thing  which  strikes  you  as  being  so  extremely  funny. 
Suppose  we  make  the  Boers  jumping  into  the  air  and  jabbing 
bayonets  through  the  well-filled  stomachs  of  the  English, 
would  it  still  appeal  to  you  in  the  same  light?” 

‘‘Oh,  mercy,  no!  That  would  be  simply  horrible  indeed.” 
That  goes  to  show  that  one-sided  humor  which  causes 
joy  to  one  and  pain  to  another  is  not  the  popular  brand. 


88 


CARTOONS  AND  CARICATURES; 


Ti;$KE:R-^rUlDf: 

PHEP. 


kURING  my  early  days,  when  my  artistic  struggles  were 
discouragingly  hard,  I found  myself  in  a broken-down 
condition.  I forthwith  made  the  acquaintance  of  a 
modern  nimrod  by  the  name  of  Ene.  This  old  man’s  easy 
going  disposition  seemed  to  soothe  my  nerves  to  sleep,  I 
traveled  about  with  him  almost  constantly. 

He  had  a language  of  his 
own  make.  His  vocabulary 
fairly  sparkled  with  quaint 
profanity.  But  he  was  a fine 
character  in  himself,  and  above 
all  he  was  no  fool,  as  I soon 
found  out.  Our  wanderings  led 
us  along  streams  and  through 
woodlands  where  he  would  de- 
scribe to  me  the  habits  of  fish 
and  game  and  explain  the 
various  methods  of  trapping 
and  snaring,  point  out  tracks 
and  other  indications  of  game 
so  that  I was  soon  able  to  dis- 
tinguish one  track  from  another.  What  I learned  from 
this  man  has  benefited  me  in  depicting  sporting  life,  from 
the  true  sport  to  the  pot  hunter. 

I quote  here  a few  of  his  own  manufactured  sentences 
of  wisdom,  which  were  uttered  with  great  seriousness  and 
oratorical  splendor.  Ene,  after  regarding  a bass  I had 
hauled  in  and  commented  on  its  diminutive  proportions 


said,  in  an  effort  to  console  me,  “Why,  say,  Bubby,  I’d 
rather  have  a bass  o’  that  size  accordingly,  than  to  have 
one  larger  of  the  same  proportions.” 

Then  again,  when  I happened  to  pay  a tribute  to  quail 
on  toast  for  a sick  stomach,  he  answered,  “Wild  game! 


OR,  MAKING  THE  WORLD  LAUGH 


Why,  it’s  the  best  meat 
they  is  for  a sick  man, 

’cause  it  substitutes  on 
the  plantation  of  this 
earth.” 

He  taught  me  also  how 
to  set  a ‘‘dead  fall”  for 
skunks,  how  to  find  gin- 
seng, a root 
valuable  for 
medical  pur- 
poses,  and 
d ecided  ly 
rare  in  its  . 
wild  state;/;,:-'/* 
how  to  dis-  J i 
tinguish  sas-  ^ 
safras  from 
other  herbs, 
etc. 

He  was 
known  as 
just  plain 
‘‘En,”  or 
‘‘Enos”  in 
the  CO  m-  V 

munity,  an  honest  citizen,  a battle- 
scarred  veteran,  living  largely  on  his 
well-earned  pension  and  the  proceeds 
from  the  services  rendered  as  guide  and 
companion.  I attribute  much  of  my 
present  good  health,  and  in  a measure, 
my  success  to  this  very  man,  for  with 
his  simple  philosophy  he  put  me  back 
into  working  order,  besides  giving,  me  the  sort  of  natural 
schooling  I most  needed  in  my  business. 


A FIVE  MINUTE  SKETCH  FROM  LIFE 


PONDERING  OVER  THE  PAST 

Sometimes  we  sit  and  ponder  over  the  past.  The  many 
side  steps  taken  in  early  life,  which  were  merely  circum- 
stantial by-plays,  because  of  that  great  obstacle,  necessity, 
that  stood  in  our  way  and  impeded  our  progress  straight- 
way. Perhaps  these  very  moves  were  responsible  for  the 
success  we  attained. 

There  is  little  satisfaction  in  having  your  course  laid  in 
advance,  someone  to  blaze  the  way  for  you.  Better  an 
encouraging  slap  on  the  back  than  a bank  roll.  The  money 
is  liable  to  make  you  lazy.  The  slap  on  the  back  will  make 
you  determined  to  show  what’s  in  you. 

Gather  in  all  the  knowledge  you  can  as  you  journey  along, 
but  in  the  main  make  your  success  your  own  success,  made 
strictly  by  yourself. 


90 


CARTOONS  AND  CARICATURES ; 


OfTiJK-LaNCIHCf' 


N artist  enters  a publishing  house 
to  submit  what  he  deems  his  very 
best  effort,  he  is  cordially  invited 
to  remain  outside  of  railing  mun- 
ber  one,  while  the  janitor  or  the 
high-salaried  office  boy  escorts  said 
wonderful  production  into  the  Editor  of 
the  Art  Department.  Said  Editor  of 
said  Art  Department  is  usually  a large  unsympathetic  man, 
or  perhaps  a slender  man  of  bilious  mien.  Invariably  the 
art  editor  is  too  busy  to  give  the  matter  immediate  attention, 
so  the  parcel  or  package  is  consigned  to  a receptacle  for  that 
purpose,  in  one  corner,  there  to  repose  until  Wednesday 
next  at  2 p.  m.  News  to  that  effect  is  conveyed  to  the  art 
gentleman  in  waiting,  that  on  the  following  Wednesday 
a letter  would  be  forthcoming  advising  him  of  the.  art  editor’s 
investigations  and  decision  in  the  matter.  Meanwhile  the 
art  gentlemen  pays  homage  to  free  lunches  and  argues  in 
his  mind  whether  he  shall  dine  at  Rector’s,  Beaux  Arts  or 
the  Waldorf  the  following  Wednesday. 

On  Wednesday  precisely  at  2 p.  m.,  providing  the  U.  S. 
mail  is  in  normal  condition,  he  receives  the  long-coveted 
letter  which  informs  him  by  way  of  an  insignificant  card 
printed  in  common  type  and  plain  black,  something  like 
this ; 


We  regret  to  say  your  drawings  are 
not  available.  Kindly  send  in  some  ’ 
more. 

The  Art  Editor. 


The  professional  is  accustomed  and  hardened  to  this  sort 
of  treatment,  but  the  novice  is  liable  to  become  discouraged 
and  drop  out  of  the  game.  That  is  what  is  termed  “Free- 
lancing.” 

MORAL 

Better  you  look  corned  beef  hash  in  the  face 
immediately  than  live  in  constant  expectation  of  a 
warm  bird  and  a cold  bottle. 


OR,  MAKING  THE  WORLD  LAUGH 


91 


Truly,  this  is  a contrary  world! 


92  CARTOONS  AND  CARICATURES ; 


HIS^  COMMANDMENT 

OLD  UNCLE  SAM  is  an  awful  funny  fellow  and  easy 
to  get  along  with  so  long  as  you  pay  attention  to 
his  rules  and  regulations,  but  if  you  get  gay  and 
step  on  his  corns,  gee  whiz!!  no  telling  what’ll  happen  to 
you,  so  you’d  better  do  just  as  he  tells  you,  and  mebbe 
save  a heap  o’  trouble. 


OR,  MAKING  THE  WORLD  LAUGH  93 


The.  or  vVouR..  ■ 


“I  want  to  leave  some  of  my  ‘stuff’  with  you.  The  gags  are  written  on 
the  back.  If  you  don’t  find  anything  to  suit  you  among  this  bunch,  throw 
them  in  the  waste  basket  and  I’ll  fetch  in  some  more.” 

This  is  the  sort  of  a comic  artist  that  is  never  without  work  atid  at  a 
high  market  price. 


94 


CARTOONS  AND  CARICATURES; 


AND  HAW 

I’l  Mi'X.Li6A,fr 


I was  once  a Fresco 
Painter  in  a Basement 
Bakery 


IN  the  eyes  of  the  owner  of  the  bake  shop  and  others 
equally  eminent  and  able  to  judge,  this  was  the  first 
great  work  of  my  life.  A colossal  fresco  in  lamp  black 
and  kerosene  oil  upon  a whitewashed  wall  near  the  hot 
oven.  It  earned  for  me  my  release  from  the  calling  which  I 
so  handsomely  detested,  and  shortly  thereafter  I went  into 
farming  business. 


OR,  MAKING  THE  WORLD  LAUGH 


95 


ODD  REMARKS  BY  AN  ODD  FELLOW 


The  most  pitiful  object  on  earth  is  the  man 
whose  ideas  of  humor  are  so  narrow  that  he 
looks  with  scorn  upon  joking-  in  any  form — he  who 
calls  it  undignified  or  vulgar  to  cause  the  cracking 
of  a smile.  His  cup  of  joy  was  soured  at  his  birth, 
perhaps,  and  he  cannot  help  his  natural  condition. 
At  any  rate  let  him  alone — don’t  try  to  sweeten 
his  existence  with  your  own  gifts  of  nature.  Keep 
busy.  “The  men  who  are  busy  miss  half  of  the  woe 
that’s  hunting  for  victims  to  slay ; they  get  all  the 
cream  in  this  valley  below,  while  idlers  subsist  on  the 
whey;  while  Fortune  kicks  others  she’ll  give  you  a 
kiss,  you’ll  win  more  applause,  and  you’ll  know  more 
of  bliss  if  you  always  keep  pegging  away.” 

With  these  remarks  I close  my  book. 


96 


CARTOONS  AND  CARICATURES ; 


WORD  BEFORE  CLOSING 

“^HE  author  wishes  to  state 
that  no  effort  has  been 
made  at  caricaturing  him- 
self in  the  foregoing^  sketches. 
His  wish  is  merely  to  depict  a type  of  the  ideal  or 
imaginary  comic  artist. 

The  matter  for  this  book  was  compiled  while  the 
author  was  down  with  the  measles.  Having  much 
time  on  his  hands  and  pimples  upon  his  person  at  that 
time,  he  feels  justified  in  referring  to  it  as  a measley 
book;  however,  it  has  nothing  but  new  and  original 
material  within  its  covers.  Not  even  the  paper,  nor 
printer’s  ink  has  ever  before  been  used,  and  as  the 
proofreader  insisted  upon  a third  reading  before 
publication,  the  author  feels  safe  in  recommending 
it  to  the  afflicted. 


flnd  for"  ibe  e.o'otism  clispl^ye^d 
In  thii.-The  chief  vvo»-k  of  my  life, 

I humbly  becy  your  p^rcior 


